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Daniel Anlezark

stone pillar and almost overwhelms the pagan cannibals of Mermedonia. Despite their differences, all the poems share an interest in two themes, which emerge from the biblical story of the Flood and its theological interpretation: covenant and apocalypse. Genesis A Scholars of Old English poetry generally agree that Genesis A is an early poem, perhaps written as early as the

in Water and fire
C. H. Herford
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library
Clare A. Lees

This article explores the contributions of women scholars, writers and artists to our understanding of the medieval past. Beginning with a contemporary artists book by Liz Mathews that draws on one of Boethius‘s Latin lyrics from the Consolation of Philosophy as translated by Helen Waddell, it traces a network of medieval women scholars of the nineteenth and twentieth centuries associated with Manchester and the John Rylands Library, such as Alice Margaret Cooke and Mary Bateson. It concludes by examining the translation of the Old English poem, The Wife‘s Lament, by contemporary poet, Eavan Boland. The art of Liz Mathews and poetry of Eavan Boland and the scholarship of women like Alice Cooke, Mary Bateson, Helen Waddell and Eileen Power show that women‘s writing of the past – creative, public, scholarly – forms a strand of an archive of women‘s history that is still being put together.

Bulletin of the John Rylands Library

This is a companion to Pastoral poetry of the English Renaissance: an anthology (2016), supporting the earlier volume with a range of critical and textual material.

The book-length Introduction traces the course of pastoral from antiquity to the present day. The historical account is woven into a thematic map of the richly varied pastoral mode. Pastoral is linked to its social context, in terms of not only direct allusion but its deeper origins and affinities. English Renaissance pastoral is set in this total perspective. Besides the formal eclogue, the study covers many genres: lyric, epode, georgic, country-house poem, ballad, romantic epic, drama, prose romance. Major practitioners like Theocritus, Virgil, Sidney, Spenser, Drayton and Milton are individually discussed. The Introduction also charts the many means by which pastoral texts circulated in that age, with implications for the history and reception of all Early Modern poetry.

All poems in the Anthology were edited from the original manuscripts and early printed texts. The Textual Notes in the present volume comprehensively document the sources and variant readings. There are also notes on the poets, and analytical indices of themes, genres, and various categories of proper names.

Words, ideas, interactions

Riddles at work is the first volume to bring together multiple scholarly voices to explore the vibrant, poetic riddle tradition of early medieval England and its neighbours. The chapters in this book present a wide range of traditional and experimental methodologies. They treat the riddles both as individual poems and as parts of a tradition, but, most importantly, they address Latin and Old English riddles side-by-side, bringing together texts that originally developed in conversation with each other but have often been separated in scholarship. The ‘General Introduction’ situates this book in its scholarly context. Part I, ‘Words’, presents philological approaches to early medieval riddles—interpretations rooted in close readings of texts—for riddles work by making readers question what words really mean. While reading carefully may lead to elegant solutions, however, such solutions are not the end of the riddling game. Part II, ‘Ideas’, thus explores how riddles work to make readers think anew about objects, relationships, and experiences, using literary theory to facilitate new approaches. Part III, ‘Interactions’, explores how riddles work through connections with other fields, languages, times, and places. Together, the sixteen chapters reveal that there is no single, right way to read these texts but many productive paths—some explored here, some awaiting future work.

Andrew Lynch

. The nineteenth century was the period in which ‘the Father of English poetry’ changed from being a satirist of universal character types to a figure of ‘simple’ and sincere piety, and then to a subtle secularist with agnostic tendencies. Linda Georgianna’s survey of critics as diverse as George Lounsbury, E. Talbot Donaldson and Derek Pearsall argues that the ‘Protestant’ Chaucer of the sixteenth-century Reformers strangely survived into late modernity. She identifies a shared critical assumption that Chaucer could not possibly have accepted many aspects of medieval

in Contemporary Chaucer across the centuries
Southwell’s sacralised poetic
Anne Sweeney

Sidney. Creativity was being linked by Southwell not just with human capabilities, as Sidney seemed to propose, but with the access of the divine, a privileging – sacralising – of the imagination not known in English poetry before. Whether or not Southwell had intended to, in the need to give pious minds the wherewithal to work independently of Church and State, he had allowed a use of the human

in Robert Southwell
The ‘inward eie’
Anne Sweeney

of English poetry foregrounded rhetoric through repetitions and rhymes; it was technically athletic and persuasive, as is the Death in Southwell’s ‘Poema de Assumptione’; Southwell’s new poetry was to foreground the message itself, like Gabriel. It was his experience of the Exercises that helped Southwell, steeped in Roman beauty, to discern the difference between technique and message

in Robert Southwell
Abstract only
Caledonian fatality in Thomas Percy’s Reliques
Frank Ferguson and Danni Glover

Thomas Percy’s The Reliques of Ancient English Poetry , first published in 1765, was a seminal text in English literature. 1 A comprehensive three-volume set of British ballads, it was one of the most significant collections of the century, and its influence was felt on British editors and writers for generations afterwards. The backdrop for this literary endeavour was a culture war in English and Scottish literature which was part of the long-standing antagonism between the two nations. This antipathy had

in Suicide and the Gothic