scholarly journals Word order and poetic style: auxiliary and verbal inThe Metres of Boethius

1986 ◽  
Vol 15 ◽  
pp. 167-196 ◽  
Author(s):  
Daniel Donoghue
Keyword(s):  
Old English ◽  
Word Order ◽  
English Prose ◽  
English Verse ◽  
Consolation Of Philosophy ◽  
The Many ◽  
King Alfred ◽  
Complex Subject ◽  
Poetic Style ◽  
The Way

The Metres of Boethiusoffer a unique opportunity to study the complex subject of Old English verse syntax. They enjoy this distinction because of the unusual way in which they were composed. The versifier did not work directly from the original Latinmetraof Boethius'sConsolation of Philosophybut from an Old English prose intermediary, freely translated from the Latin originals. King Alfred was the author of the prose translation and was probably also responsible for turning the parts of the prose corresponding to the Latinmetrainto Old English verse. Since a copy of the prose model survives, it affords us an opportunity to compare the two versions in order to judge the versifier's debt to the prose. He apparently followed it quite faithfully and without referring back to the Latin originals. In many verse passages one can find words and half-lines which are direct transcriptions from the prose. Consequently the Old EnglishMetresare generally considered nothing more than prose expanded into verse, adding only ‘poetic’ embellishments (like repetition and variation) and obvious morals drawn from the passage. The fruit of the versifier's labours may be uninspired poetry, but the way that he rearranged the words of the prose offers a rare glimpse into the more elusive conventions of verse-making. Since the many similarities make the differences quite pronounced, the poetical shortcomings of theMetresmay be a blessing. A mediocre versifier is more likely to compose mechanically and to imitate established patterns than a good poet, whose virtuosity often conceals the rudiments of his craft.

Lost in translation: omission of episodes in some Old English prose saints' legends

1997 ◽  
Vol 26 ◽  
pp. 187-208 ◽  
Author(s):  
E. Gordon Whatley
Keyword(s):  
Old English ◽  
Anglo Saxon ◽  
English Prose ◽  
English Verse ◽  
Cultural Interest ◽  
Lost In Translation

The following article explores one way of using Latin sources to increase our understanding and appreciation of the surviving corpus of vernacular prose hagiography in Anglo-Saxon England. Although the saints' legends in prose make up a significant portion of the Old English literary remains, they have been relatively neglected in comparison with the saints' legends in Old English verse, such asAndreas, Guthlac AandGuthlac B, and Cynewulf'sElene. As the standard bibliographies reveal well enough, the prose texts have been studied mainly from the perspectives of language, stylistics, codicology and basicQuellenforschung, and much less than the verse texts for their literary, historical or broadly cultural interest. This is particularly true of the twenty-nine anonymous legends, some of which are not readily accessible in printed versions, and most of which need re-editing. But even the hagiographic writings of Ælfric, which are better known, have been read only occasionally for their narrative contentperse. Primary emphasis has fallen instead on Ælfric's considerable stylistic and prosodic achievements. Moreover, the two most recent monographs on Ælfric's intellectual and doctrinal concerns hardly touch on his saints' legends.

scholarly journals Fragments of Boethius: the reconstruction of the Cotton manuscript of the Alfredian text

2005 ◽  
Vol 34 ◽  
pp. 169-181 ◽  
Author(s):  
Susan Irvine
Keyword(s):  
Old English ◽  
Ninth Century ◽  
Human Existence ◽  
The Other ◽  
Sixth Century ◽  
The Waste Land ◽  
Waste Land ◽  
English Prose ◽  
King Alfred

‘These fragments I have shored against my ruins’: T. S. Eliot's metaphor in The Waste Land evokes the evanescent frailty of human existence and worldly endeavour with a poignancy that the Anglo-Saxons would surely have appreciated. Such a concept lies at the heart of Boethius's De consolatione Philosophiae, and perhaps prompted King Alfred to include this work amongst those which he considered most necessary for all men to know. Written in the early sixth century, Boethius's work was translated from Latin into Old English at the end of the ninth century, possibly by Alfred himself. It survives in two versions, one in prose (probably composed first) and the other in prose and verse, containing versifications of Boethius's Latin metres which had originally been rendered as Old English prose. It is the latter of these versions which will be the focus of my discussion here. Damaged beyond repair by fire and water, the set of fragments which contains this copy will be seen to epitomize the ideas imparted by the work in ways that Alfred could never have envisaged.

scholarly journals Old ‘truths’, new corpora: revisiting the word order of conjunct clauses in Old English

2016 ◽  
Vol 21 (1) ◽  
pp. 1-25 ◽  
Author(s):  
KRISTIN BECH
Keyword(s):  
Nineteenth Century ◽  
Old English ◽  
Word Order ◽  
Entire Body ◽  
English Prose ◽  
Starting Point ◽  
Point Of Departure

In Bech (2001a, 2001b), I took issue with the oft-repeated claim that Old English conjunct main clauses are commonly verb-final, and disproved it. However, the myth persists. In the meantime, theYork–Toronto–Helsinki Parsed Corpus of Old English Prose(YCOE, Tayloret al.2003) has been created, so the time has come to revisit this topic and consider it in light of new, extensive and generally accessible data. Using the YCOE corpus, I confirm and expand on Bech's (2001a, 2001b) empirical findings, showing that (i) OE conjunct clauses are neither typically verb-final nor verb-late, but they are more frequently verb-final and verb-late than non-conjunct clauses are; and (ii) verb-final and verb-late clauses are typically conjunct clauses. These two perspectives must be kept apart: in the first, the starting point is the entire body of conjunct clauses, and in the second it is the entire body of verb-final/verb-late clauses. I propose that the failure to distinguish between the two perspectives, i.e. whether it is conjunct clauses or word order that constitutes the point of departure, is the origin of the misconception concerning conjunct clauses and word order. In order to establish whether this distinction has been fuzzy all along, or whether it must be ascribed to distorted referencing in the course of a century of research, I trace the research on this topic back to the end of the nineteenth century. I show that the alleged verb-finality of conjunct clauses may be ascribed to awhisper-down-the-laneeffect – the retelling of the story has changed the story.

The scribe of the Paris Psalter

1999 ◽  
Vol 28 ◽  
pp. 179-183
Author(s):  
Richard Emms
Keyword(s):  
Old English ◽  
Eleventh Century ◽  
Latin Text ◽  
English Prose ◽  
The Right ◽  
King Alfred

The Paris Psalter (Bibliothèque Nationale de France, lat. 8824) has attracted much interest because of its long, thin format, its illustrations in the Utrecht Psalter tradition and its Old English prose translation of the first fifty psalms, which has been convincingly attributed to King Alfred himself. It is a bilingual psalter, with Latin (Roman version) on the left and Old English on the right. The first fifty psalms are in the prose translation connected with King Alfred, the remainder in a metrical version made by an author whose work has not been identified elsewhere. The leaves are approximately 526 × 186 mm, with a writing space of about 420 × 95 mm. It has been estimated that there were originally 200 leaves in twenty-five quires, but fourteen leaves, including those carrying all the major decoration, have been removed. There remain thirteen outline drawings integrated into the text on the first six folios. Some drawings may have functioned as ‘fillers’ where the Latin text was shorter than the Old English. Further on in the manuscript, in order to solve this problem, the scribe either left gaps or made the columns of Latin thinner than the corresponding Old English ones. The Old English introductions were set out across both columns, suggesting that the book was made for someone who read English more easily than Latin. The manuscript was written around the middle of the eleventh century, and it is clearly the work of a single skilled scribe who used a neat Anglo-Caroline minuscule for the Latin texts, and matching English vernacular minuscule with many Caroline letter forms for the Old English. Unfortunately, his hand has not been identified in any other books or charters; however, he did record in a colophon (186r; see pl.V) that he was called Wulfwinus cognomento Cada.

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