The Wanderer | |
---|---|
Author(s) | Unknown |
Language | Old English |
Date | Impossible to determine [1] |
Provenance | Exeter Book |
Genre | Elegy |
Verse form | Alliterative verse |
Length | c. 115 lines |
Personages | The narrator of the "wise man"'s speech, and the "wise man", presumably the "Wanderer" himself. |
Text | The Wanderer at Wikisource |
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 date of the poem is impossible to determine, but scholarly consensus considers it to be older than the Exeter Book itself, which dates from the late 10th century. [2] The inclusion of a number of Norse-influenced words, such as the compound hrimceald (ice-cold, from the Old Norse word hrimkaldr), and some unusual spelling forms, has encouraged others to date the poem to the late 9th or early 10th century. [3]
As is typical of Old English verse, the metre of the poem is alliterative and consists of four-stress lines, divided between the second and third stresses by a caesura. Each caesura is indicated in the manuscript by a subtle increase in character spacing and with full stops, but modern print editions render them in a more obvious fashion. It is considered an example of an Anglo-Saxon elegy. [4]
The Wanderer conveys the meditations of a solitary exile on his past happiness as a member of his lord's band of retainers, his present hardships and the values of forbearance and faith in the heavenly Lord. The warrior is identified as eardstapa (line 6a), usually translated as "wanderer" (from eard meaning "earth" or "land", and steppan , meaning "to step" [5] ), who roams the cold seas and walks "paths of exile" (wræclastas). He remembers the days when, as a young man, he served his lord, feasted together with comrades, and received precious gifts from the lord. Yet fate ( wyrd ) turned against him when he lost his lord, kinsmen and comrades in battle—they were defending their homeland against an attack—and he was driven into exile. Some readings of the poem see the wanderer as progressing through three phases; first as the ānhaga (solitary man) who dwells on the deaths of other warriors and the funeral of his lord, then as the mōdcearig man (man sorrowful of heart) [6] who meditates on past hardships and on the fact that mass killings have been innumerable in history, and finally as the snottor on mōde (man wise in mind) who has come to understand that life is full of hardships, impermanence, and suffering, and that stability only resides with God. Other readings accept the general statement that the exile does come to understand human history, his own included, in philosophical terms, but would point out that the poem has elements in common with "The Battle of Maldon", a poem about a battle in which an Anglo-Saxon troop was defeated by Viking invaders. [7]
However, the speaker reflects upon life while spending years in exile, and to some extent has gone beyond his personal sorrow. In this respect, the poem displays some of the characteristics of Old English wisdom poetry. The degeneration of “earthly glory” is presented as inevitable in the poem, contrasting with the theme of salvation through faith in God.
The wanderer vividly describes his loneliness and yearning for the bright days past, and concludes with an admonition to put faith in God, "in whom all stability dwells".
The development of critical approaches to The Wanderer corresponds closely to changing historical trends in European and Anglo-American philology, literary theory, and historiography as a whole. [8]
Like other works in Old English, The Wanderer simply would not have been understood between the twelfth and sixteenth centuries because of the rapid changes in the English language after the Norman Conquest. [9] Until the early nineteenth century, the existence of the poem was largely unknown outside of Exeter Cathedral's library. In John Josias Conybeare's 1826 compilation of Anglo Saxon poetry, The Wanderer was erroneously treated as part of the preceding poem Juliana. [10] It was not until 1842 that it was identified as a separate work, in its first print edition, by the pioneering Anglo-Saxonist Benjamin Thorpe. Thorpe considered it to bear "considerable evidence of originality", but regretted an absence of information on its historical and mythological context. [11] His decision to name it The Wanderer has not always been met with approval. J. R. R. Tolkien, who adopted the poem's ubi sunt passage (lines 92–96) into The Lord of the Rings for his Lament for the Rohirrim , was one of the scholars who expressed dissatisfaction. As early as 1926–7 Tolkien was considering the alternative titles "An Exile", or "Alone the Banished Man", and by 1964–5 was arguing for "The Exile's Lament". [12] Despite such pressure, the poem is generally referred to under Thorpe's original title.
Critics have identified the presence in The Wanderer of a number of themes and formal elements common to the Old English elegies, including the "beasts of battle" motif, [13] the ubi sunt formula, [14] the exile theme, [15] the ruin theme, [15] and the journey motif, as also seen in The Seafarer . [16]
The "beasts of battle" motif, often found in Anglo-Saxon heroic poetry, is here modified to include not only the standard eagle, raven, and wolf, but also a "sad-faced man" (sumne drēorighlēor, l. 83). It has been suggested that this is the poem's protagonist. [17]
The ubi sunt or "where is/where are they" formula is present in lines 92–94, in the form hwær cwom ("where has ___ gone"):
Hwǣr cwōm mearg? Hwǣr cwōm mago? Hwǣr cwōm māþþumgyfa? | Where have the horses gone? where are the riders? where is the giver of gold? |
—R. M. Liuzza (2014) |
The motific use of this phrase emphasises the sense of loss that pervades the poem.
It has been argued that the concluding admonition is a later addition, as it lies at the end of a poem that some would say is otherwise entirely secular in its concerns. Opponents of this interpretation such as I. L. Gordon have argued that because many of the words in the main body of the poem have both secular and religious meanings, it is not necessarily the case that the poem's explicitly religious conclusion represents a later addition. [18]
In "The Wanderer's Courage" (2005), L. Beaston describes the psychological or spiritual progress of the wanderer as an "act of courage of one sitting alone in meditation", who through embracing the values of Christianity seeks "a meaning beyond the temporary and transitory meaning of earthly values". [19]
A plurality of scholarly opinion holds that the main body of the poem is spoken as monologue, bound between a prologue and epilogue voiced by the poet. For example, lines 1–5, or 1–7, and 111–115 can be considered the words of the poet as they refer to the wanderer in the third person, and lines 8–110 as those of a singular individual in the first person. [20] Alternatively, the entire piece can be seen as a soliloquy spoken by a single speaker. [21] Due to the disparity between the anxiety of the "wanderer" (ānhaga) in the first half and the contentment of the "wise one" (snottor) in the second half, others have interpreted it as a dialogue between two distinct personas, framed within the first person prologue and epilogue. An alternative approach grounded in post-structuralist literary theory, and posited by Carol Braun Pasternack identifies a polyphonic series of different speaking positions determined by the subject that the speaker will address. [22]
Beowulf is an Old English epic poem in the tradition of Germanic heroic legend consisting of 3,182 alliterative lines. It is one of the most important and most often translated works of Old English literature. The date of composition is a matter of contention among scholars; the only certain dating is for the manuscript, which was produced between 975 and 1025 AD. Scholars call the anonymous author the "Beowulf poet". The story is set in pagan Scandinavia in the 6th century. Beowulf, a hero of the Geats, comes to the aid of Hrothgar, the king of the Danes, whose mead hall Heorot has been under attack by the monster Grendel for twelve years. After Beowulf slays him, Grendel's mother takes revenge and is in turn defeated. Victorious, Beowulf goes home to Geatland and becomes king of the Geats. Fifty years later, Beowulf defeats a dragon, but is mortally wounded in the battle. After his death, his attendants cremate his body and erect a barrow on a headland in his memory.
Old English literature refers to poetry and prose written in Old English in early medieval England, from the 7th century to the decades after the Norman Conquest of 1066, a period often termed Anglo-Saxon England. The 7th-century work Cædmon's Hymn is often considered as the oldest surviving poem in English, as it appears in an 8th-century copy of Bede's text, the Ecclesiastical History of the English People. Poetry written in the mid 12th century represents some of the latest post-Norman examples of Old English. Adherence to the grammatical rules of Old English is largely inconsistent in 12th-century work, and by the 13th century the grammar and syntax of Old English had almost completely deteriorated, giving way to the much larger Middle English corpus of literature.
The Battle of Maldon took place on 11 August 991 AD near Maldon beside the River Blackwater in Essex, England, during the reign of Æthelred the Unready. Earl Byrhtnoth and his thegns led the English against a Viking invasion. The battle ended in an Anglo-Saxon defeat. After the battle Archbishop Sigeric of Canterbury and the aldermen of the south-western provinces advised King Æthelred to buy off the Vikings rather than continue the armed struggle. The result was a payment of Danegeld of 10,000 Roman pounds (3,300 kg) of silver.
Rohan is a fictional kingdom of Men in J. R. R. Tolkien's fantasy setting of Middle-earth. Known for its horsemen, the Rohirrim, Rohan provides its ally Gondor with cavalry. Its territory is mainly grassland. The Rohirrim call their land the Mark or the Riddermark, names recalling that of the historical kingdom of Mercia, the region of Western England where Tolkien lived.
Grendel is a character in the Anglo-Saxon epic poem Beowulf. He is one of the poem's three antagonists, all aligned in opposition against the protagonist Beowulf. He is referred to as both an eoten and a þyrs, types of beings from wider Germanic mythology. He is also described as a descendant of the Biblical Cain and "a creature of darkness, exiled from happiness and accursed of God, the destroyer and devourer of our human kind." He is usually depicted as a monster or a giant, although his status as a monster, giant, or other form of supernatural being is not clearly described in the poem and thus remains the subject of scholarly debate. The character of Grendel and his role in the story of Beowulf have been subject to numerous reinterpretations and re-imaginings. Grendel is feared by all in Heorot but Beowulf, who kills both him and his mother.
In prosody, alliterative verse is a form of verse that uses alliteration as the principal device to indicate the underlying metrical structure, as opposed to other devices such as rhyme. The most commonly studied traditions of alliterative verse are those found in the oldest literature of the Germanic languages, where scholars use the term 'alliterative poetry' rather broadly to indicate a tradition which not only shares alliteration as its primary ornament but also certain metrical characteristics. The Old English epic Beowulf, as well as most other Old English poetry, the Old High German Muspilli, the Old Saxon Heliand, the Old Norse Poetic Edda, and many Middle English poems such as Piers Plowman, Sir Gawain and the Green Knight, Layamon's Brut and the Alliterative Morte Arthur all use alliterative verse.
Cynewulf is one of twelve Old English poets known by name, and one of four whose work is known to survive today. He presumably flourished in the 9th century, with possible dates extending into the late 8th and early 10th centuries.
"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.
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.
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 of the tenth-century 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.
"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."
Ubi sunt is a rhetorical question taken from the Latin Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?" Ubi nunc...? is a common variant.
Elene is a poem in Old English, that is sometimes known as Saint Helena Finds the True Cross. It was translated from a Latin text and is the longest of Cynewulf's four signed poems. It is the last of six poems appearing in the Vercelli manuscript, which also contains The Fates of the Apostles, Andreas, Soul and Body I, the Homiletic Fragment I and Dream of the Rood. The poem is the first English account of the finding of the Holy Cross by Saint Helena, the mother of Emperor Constantine. The poem was written by Cynewulf some time between 750 and the tenth century. It is written in a West Saxon dialect, but certain Anglianisms and metrical evidence concerning false rhymes suggest it was written in an Anglian rather than Saxon dialect. It is 1,321 lines long.
"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.
"Maxims I" and "Maxims II" are pieces of Old English gnomic poetry. The poem "Maxims I" can be found in the Exeter Book and "Maxims II" is located in a lesser known manuscript, London, British Library, Cotton Tiberius B i. "Maxims I" and "Maxims II" are classified as wisdom poetry, being both influenced by wisdom literature, such as the Havamal of ancient Germanic literature. Although they are separate poems of diverse contents, they have been given a shared name because the themes throughout each of the poems are similar.
"The Battle of Maldon" is the name given to an Old English poem of uncertain date celebrating the real Battle of Maldon of 991, at which an Anglo-Saxon army failed to repulse a Viking raid. Only 325 lines of the poem are extant; both the beginning and the ending are lost.
Beowulf: A New Verse Translation is a verse translation of the Old English epic poem Beowulf into modern English by the Irish poet and playwright Seamus Heaney. It was published in 1999 by Farrar, Straus, and Giroux and Faber and Faber, and won that year's Whitbread Book of the Year Award.
The poetry in The Lord of the Rings consists of the poems and songs written by J. R. R. Tolkien, interspersed with the prose of his high fantasy novel of Middle-earth, The Lord of the Rings. The book contains over 60 pieces of verse of many kinds; some poems related to the book were published separately. Seven of Tolkien's songs, all but one from The Lord of the Rings, were made into a song-cycle, The Road Goes Ever On, set to music by Donald Swann. All the poems in The Lord of the Rings were set to music and published on CDs by The Tolkien Ensemble.
Carol Braun Pasternack was a professor of medieval English literature and language at the University of California, Santa Barbara (UCSB) from 1988 to 2013. She chaired the Medieval Studies department, and was also Dean of Summer Sessions at UCSB in 2011–2013.
J. R. R. Tolkien was attracted to medieval literature, and made use of it in his writings, both in his poetry, which contained numerous pastiches of medieval verse, and in his Middle-earth novels where he embodied a wide range of medieval concepts.
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