Seven original essays on the theory, practice and future of editing Old English verse.

New approaches to a range of Old English texts. Throughout her career, Professor Katherine O'Brien O'Keeffe has focused on the often-overlooked details of early medieval textual life, moving from the smallest punctum to a complete reframing of the humanities' biggest questions. In her hands, the traditional tools of medieval studies -- philology, paleography, and close reading - become a fulcrum to reveal the unspoken worldviews animating early medieval textual production. The essays collected here both honour and reflect her influence as a scholar and teacher. They cover Latin works, such as the writings of Prudentius and Bede, along with vernacular prose texts: the Pastoral Care, the OE Boethius, the law codes, the Anglo-Saxon Chronicle, and Ælfric's Lives of Saints. The Old English poetic corpus is also considered, with a focus on less-studied works, including Genesis and Fortunes of Men. This diverse array of texts provides a foundation for the volume's analysis of agency, identity, and subjectivity in early medieval England; united in their methodology, the articles in this collection all question received wisdom and challenge critical consensus on key issues of humanistic inquiry, among them affect and embodied cognition, sovereignty and power, and community formation.

There has in recent years been a lively debate among ANglo-Saxonists about the principles on which Old English verse should be edited. The present collection of essays, by the foremost living critic of Old English poetry, will move this debate on to a new plane. Robinson approaches editorial problems from a variety of perspectives: several essays show how insufficient attention to the manuscript context of a poem has led earlier scholars into error; on other occasions, scholars are shown to have resorted too quickly to emendation when a fresh combination of philological skill and intelligence can make a transmitted reading yield good sense; on yet other occasions, Robinson solves intractable textual problems by clean and elegant emendation. THe message of the book is one which no student of Old English literature can ignore: namely that the interpretation of Old English poems requires thorough familiarity with the manuscript context in which the poem is preserved, together with deep philological learning and penetrating common sense. No student of Old English poetry has these qualities in greater abundance than Fred C Robinson.

This Companion has been thoroughly revised to take account of recent scholarship and to provide a clear and accessible introduction for those encountering Old English literature for the first time. Including seventeen essays by distinguished scholars, this new edition provides a discussion of the literature of the period 600 to 1066 in the context of how Anglo-Saxon society functioned. New chapters cover topics including preaching and teaching, Beowulf and literacy, and a further five chapters have been revised and updated, including those on the Old English language, perceptions of eternity and Anglo-Saxon learning. An additional concluding chapter on Old English after 1066 offers an overview of the study and cultural influences of Old English literature to the present day. Finally, the further reading list has been overhauled to incorporate the most up-to-date scholarship in the field and the latest electronic resources for students.

This is a student edition with full Glossary of Old English poems, from manuscripts dated between A.D. 975 and 1060, which are based on liturgical materials used in the Anglo-Saxon Church. Each poem is presented with both a semi-diplomatic and a modern critical text on facing pages. Detailed explanatory notes accompany the text of each poem, and an introduction provides historical, cultural, and liturgical background for this sub-genre of vernacular English verse.

Authors, Audiences, and Old English Verse re-examines the Anglo-Saxon poetic tradition from the eighth to the eleventh centuries and reconsiders the significance of formulaic parallels and the nature of poetic authorship in Old English. Offering a new vision of much of Old English literary history, Thomas A. Bredehoft traces a tradition of 'literate-formulaic' composition in the period and contends that many phrases conventionally considered oral formulas are in fact borrowings or quotations. His identification of previously unrecognized Old English poems and his innovative arguments about the dates, places of composition, influences, and even possible authors for a variety of tenth- and eleventh-century poems illustrate that the failure of scholars to recognize the late Old English verse tradition has seriously hampered our literary understanding of the period. Provocative and bold, Authors, Audiences and Old English Verse has the potential to transform modern understandings of the classical Old English poetic tradition.

From the riddling song of a bawdy onion that moves between kitchen and bedroom to the thrilling account of Beowulf's battle with a treasure-hoarding dragon, from the heart-rending lament of a lone castaway to the embodied speech of the cross upon which Christ was crucified, from the anxiety of Eve, who carries "a sumptuous secret in her hands / And a tempting truth hidden in her heart," to the trust of Noah who builds "a sea-floater, a wave-walking / Ocean-home with rooms for all creatures," the world of the Anglo-Saxon poets is a place of harshness, beauty, and wonder. Now for the first time, the entire Old English poetic corpus—including poems and fragments discovered only within the past fifty years—is rendered into modern strong-stress, alliterative verse in a masterful translation by Craig Williamson. Accompanied by an introduction by noted medievalist Tom Shippey on the literary scope and vision of these timeless poems and Williamson's own introductions to the individual works and his essay on translating Old English poetry, the texts transport us back to the medieval scriptorium or ancient mead-hall, to share a herdsman's recounting of the story of the world's creation or a people's sorrow at the death of a beloved king, to be present at the clash of battle or to puzzle over the sacred and profane answers to riddles posed over a thousand years ago. This is poetry as stunning in its vitality as it is true to its sources. Were Williamson's idiom not so modern, we might think that the Anglo-Saxon poets had taken up the lyre again and begun to sing once more.