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Cary Howie

way, with you. The chapter’s title modernizes, as a kind of choreography of stillness, a term the medieval poem uses to express the limits of arithmetic when coping with who we are, alone, together. Chapters 7 and 8 , “Lyric medievalism” and “Lyric theology,” are two sides of the same coin, or, perhaps, two coins of the same side, as they each read closely a handful of modern lyric poems devoted, in various ways, to medieval objects and experiences. “Lyric medievalism” shows how B. H. Fairchild, Lynda Hull and Rynn Williams evoke the Middle Ages as a way of

in Transfiguring medievalism
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Caledonian fatality in Thomas Percy’s Reliques
Frank Ferguson and Danni Glover

of Chevy Chase’, chosen as the first ballad in the collection, might have presented problems because of the events it commemorated. It could be perceived as a medieval poem about a border skirmish between English and Scottish factions, which occurred because the then Lord Percy arbitrarily decided to make an illegal incursion into Scotland to hunt deer (1; 1, I, i). However, the ballad depicts this action as a holy and righteous exercise of Percy’s power as an English nobleman: The Persé owt of Northombarlande

in Suicide and the Gothic
Tim William Machan

medieval Scandinavians. In place of regnal genealogies and migration myths, he uses imagery that stresses raw and starkly drawn emotional power of a kind that recalls Frithjof’s saga , a wildly popular pseudo-medieval poem of the early nineteenth century that was translated many times, including by the Robert Latham who wrote so much about Norway. 12 ‘I am the God Thor’, begins one of Longfellow’s poems: I am the War God, I am the Thunderer Here in my Northland, My fastness and fortress, Reign I forever! Here amid icebergs Rule I the nations

in Northern memories and the English Middle Ages
Andrew Higson

-budget British version Robin Hood (1990); the American blockbuster Robin Hood: Prince of Thieves (1991), starring Kevin Costner; and Mel Brooks’s spoof Robin Hood: Men in Tights (1993). A further eighteen films were adapted from an assortment of other literary sources, from the medieval to the postmodern. Medieval poems and letters and the plays of Shakespeare and Marlowe accounted for The Wanderer

in Medieval film
Reading historically and intertextually
Judith Anderson

high Renaissance. Sources and analogues like the Variorum ’s need hardly be abandoned, but they cannot exclude a verbal parallel in English in a medieval poem known to be familiar to Spenser. This time, the evidence is incontrovertible. The seventy-ninth sonnet devalues the lady’s ‘fayre’ (1) appearance and ‘glorious hew’ (6), on both of which the lady prides herself. The speaker supersedes these outer qualities with what alone ‘is permanent and free / from frayle corruption, that doth flesh ensew’ (7–8). But unlike

in Rereading Chaucer and Spenser
Open Access (free)
Daniel C. Remein and Erica Weaver

's ‘static, heroic masculinity’. All told, this volume thus contends that the intimacies in Beowulf – textual, narrative, characterological, formal, linguistic, cultural, and so forth – escape the intimate, charged confines of an early medieval poem that will probably remain – perhaps paradoxically – anonymous and undated. In addition to addressing ongoing, crucial questions about the interpretation or function of the poem, then, these chapters ultimately give us a Beowulf whose relationship status will always display ‘it's complicated’, but which

in Dating Beowulf
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Gillian Rudd

makes much nature writing so resilient to critical interpretation. Oerlemans makes his argument with regard to the writing of the Romantics (prose, shorter poems and sections within longer narrative texts) but the questions of focus and interpretation he raises are thrown into greater relief when, as with the medieval poems under discussion here, we are dealing with free-standing lyrics that are often anonymous, frequently without certain date and usually without a known precise reason for their composition. In this they are most like found objects: they do not need

in Greenery
The abjection of the Middle Ages
Thomas A. Prendergast and Stephanie Trigg

discovery and rather forcefully suggests that scholars might do well to attend to the manuscript context of medieval poems before making assertions about their literary, historical, religious or even generic qualities. 14 The story is irresistible both because it seems to demonstrate the delightful horror of academic error (as long as it doesn’t happen to us) and demonstrates how academic discipline

in Affective medievalism
Willem de Blécourt

small, possibly mutually related group of stories, 19 and she obliterated the horse. In her opinion the brothers guarding the apple tree were not important either, since they were absent in the medieval poem (and, like the illness, belonged to another story type anyway). She divulged a preference for northern European texts: the Russian version was ‘excellent’, the Scottish ‘good’, whereas variants in

in Tales of magic, tales in print
Swooning in late medieval literature
Naomi Booth

There has been scattered scholarship on the relationship between Shakespeare's Romeo and Juliet and his reading of Chaucer's Troilus and Criseyde : see Ann Thompson, who suggests that ‘the medieval poem was very much in [Shakespeare's] mind if not actually in front of his eyes when he was working on Romeo and Juliet ’ (‘ Troilus and Criseyde and Romeo and Juliet ’, The Yearbook of English Studies 6 (1976), 26–37 at 26). Prior to this M.C. Bradbrook suggested: ‘That the author of Romeo and Juliet had learned from the author of Troilus and Criseyde would

in Swoon