The Runic Inscription on the Isle of Wight Sword

PMLA ◽  
1903 ◽  
Vol 18 (1) ◽  
pp. 95-98
Author(s):  
George Hempl

On page 459 of the third volume of his Old Northern Runic Monuments, and on page 245 of his Handbook, Stephens gave a cut of an Anglo-Saxon sword found on the Isle of Wight and now in the British Museum, Of this he wrote the following facts and fancies: “Found about the middle of this century in an Old English grave. But the runes were first seen in 1882 by Aug. W. Franks, Esq., the Director. . . . The runes are on the inner side of the silver scabbard-mount, and were only seen lately when the piece was cleaned. Hence their perfect preservation, tho so slightly cut-in. They have been hidden for some 1300 winters! . . . In this case the owner had cut this spell, singing therewith some chaunt of supernatural power, to overcome the easier his unsuspecting enemy. All such witchcraft and amulet-bearing etc. was strictly forbidden. Whatever the staves mean, this is the only such secret rune-risting yet found.” Stephens' rendering is, as usual, quite worthless: “? Awe (terror, death and destruction) to-the-seve (brynie, armor, weapons, of the foe)!”

PMLA ◽  
1918 ◽  
Vol 33 (2) ◽  
pp. 244-268
Author(s):  
David Klein

In the winter of 1567–8 five gentlemen of the Inner Temple presented befor the queen a tragedy entitled Gismond of Salerne. In 1591–2 Robert Wilmot, author of the fifth act, publisht a revision of the entire work under the name Tancred and Gismund. This was reprinted by Dodsley. The erlier version has cum down to us in two ms. copies, both in the British Museum: Hargrave 205, knoen as H, and Landsdowne 786, knoen as L, the former dating from the third quarter of the sixteenth century, the latter from the end of the sixteenth or the beginning of the seventeenth century. L has been reprinted by Brandl in volume LXXX of Quellen und Forschungen and by Cunliffe in his Early English Classical Tragedies. Renewed study of the work finds a stimulus in the recent publication of a fotografic reproduction of H in Farmer's facsimile edition of The Old English Drama.


Author(s):  
Chris Jones

This introductory chapter contextualizes the philological study of language during the nineteenth century as a branch of the evolutionary sciences. It sketches in outline the two phases of poetic Anglo-Saxonism for which the rest of the book will subsequently argue in more detail. Moreover, the relationship between Anglo-Saxonism and nineteenth-century medievalism more generally is articulated, and historical analogies are drawn between nineteenth-century Anglo-Saxonism and more recent political events in the Anglophone world. Finally, the scholarly contribution of Fossil Poetry itself is contextualized within English Studies; it is argued that ‘reception’ is one of the primary objects of Anglo-Saxon or Old English studies, and not merely a secondary object of that field’s study.


Author(s):  
Patrizia Lendinara
Keyword(s):  

This chapter surveys Old English glosses of Latin works in Anglo-Saxon manuscripts and discusses the format of glosses, the types of texts that were glossed, hermeneutic texts, merographs, dry-point glosses, glossae collectae, class glossaries, and alphabetical glossaries. The author also treats the production and study of grammar in Anglo-Saxon England, touching on the works of Bede, Tatwine, Boniface, Alcuin, Priscian, and Aelfric.


2020 ◽  
Vol 138 (2) ◽  
pp. 213-233
Author(s):  
Claudio Cataldi

AbstractThe present study provides a full edition and commentary of the three glossaries in Oxford, Bodleian Library, Barlow 35, fol. 57r–v. These glossaries, which were first partly edited and discussed by Liebermann (1894), are comprised of excerpts from Ælfric’s Grammar and Glossary arranged by subject. The selection of material from the two Ælfrician works witnesses to the interests of the glossator. The first glossary in Barlow 35 collects Latin grammatical terms and verbs followed by their Old English equivalents. The second glossary is drawn from the chapter on plant names of Ælfric’s Glossary, with interpolations from other chapters of the same work. This glossary also features twelfth-century interlinear notations, which seem to have a metatextual function. The third glossary combines excerpts from Ælfric’s Glossary with verbs derived from the Grammar. Liebermann transcribed only part of the glosses and gave a brief commentary on the glossaries as well as parallels with Zupitza’s (1880) edition of Ælfric’s Grammar and Glossary; hence the need for a new edition, which is provided in the present study, along with a comprehensive discussion of the glossaries and a reassessment of the correspondences concerning their Ælfrician sources.


2018 ◽  
Vol 47 ◽  
pp. 275-305
Author(s):  
Helen Appleton

AbstractThe Anglo-Saxon mappa mundi, sometimes known as the Cotton map or Cottoniana, is found on folio 56v of London, British Library, Cotton Tiberius B. v, which dates from the first half of the eleventh century. This unique survivor from the period presents a detailed image of the inhabited world, centred on the Mediterranean. The map’s distinctive cartography, with its emphasis on islands, seas and urban spaces, reflects an Insular, West Saxon geographic imagination. As Evelyn Edson has observed, the mappa mundi appears to be copy of an earlier, larger map. This article argues that the mappa mundi’s focus on urban space, translatio imperii and Scandinavia is reminiscent of the Old English Orosius, and that it originates from a similar milieu. The mappa mundi’s northern perspective, together with its obvious dependence on and emulation of Carolingian cartography, suggest that its lost exemplar originated in the assertive England of the earlier tenth century.


1926 ◽  
Vol 46 (2) ◽  
pp. 250-252 ◽  
Author(s):  
J. H. Iliffe
Keyword(s):  

B.M. B46. The catalogue describes this vase thus:—Acquired 1867: Blacas Coll. Dinos. Ht. 13 in. Diam. 12½ in. Slightly restored, imperfectly fired. Around rim, chain of lotus and buds; on shoulder, tongue-pattern. Two friezes: above, banquet scene, of seven couches, on each of which two male banqueters; between the two end couches, group of five servants, in attendance on the banqueters; below, animal frieze. Beneath this a broad zone of black, and on bottom, polypus pattern.The principal scene shows a series of seven couches, on each of which recline two bearded male figures, facing to 1.; seven of them wear wreaths. Alongside each couch stands a table, bearing viands for the banquet. From 1. to r., the first, fourth, sixth, tenth and thirteenth hold out phialae in varying attitudes; the third, eleventh and fourteenth hold out kerata, in the act of drinking, or to have them refilled, while the seventh and eighth also have each a keras; the fifth holds out a kantharos; the twelfth raises an apparently empty r. hand; the second also raises his r. hand, but the object he holds is hidden by the first figure; the ninth plays the double flute.


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