Calling the shots: the Old English remedy Gif hors ofscoten sie and Anglo-Saxon "Elf-Shot"

No abstract available

The Orality of a Silent Age: The Place of Orality in Medieval Studies

'The Orality of a Silent Age: The Place of Orality in Medieval Studies' uses a brief survey of current work on Old English poetry as the point of departure for arguing that although useful, the concepts of orality and literacy have, in medieval studies, been extended further beyond their literal referents of spoken and written communication than is heuristically useful. Recent emphasis on literate methods and contexts for the writing of our surviving Anglo-Saxon poetry, in contradistinction to the previous emphasis on oral ones, provides the basis for this criticism. Despite a significant amount of revisionist work, the concept of orality remains something of a vortex into which a range of only party related issues have been sucked: authorial originality/communal property; impromptu composition/meditated composition; authorial and audience alienation/immediacy. The relevance of orality to these issues is not in dispute; the problem is that they do not vary along specifically oral/literate axes. The article suggests that this is symptomatic of a wider modernist discourse in medieval studies whereby modern, literate society is (implicitly) contrasted with medieval, oral society: the extension of the orality/literacy axis beyond its literal reference has to some extent facilitated the perpetuation of an earlier contrast between primitivity and modernity which deserves still to be questioned and disputed. Pruning back our conceptions of the oral and the literate to their stricter denotations, we might hope to see more clearly what areas of medieval studies would benefit from alternative interpretations

Hygelac's only daughter: a present, a potentate and a peaceweaver in Beowulf

[FIRST PARAGRAPH] The women of Beowulf have enjoyed extensive study in recent years, but one has escaped the limelight: the only daughter of Hygelac, king of the Geats and Beowulf’s lord. But though this daughter is mentioned only fleetingly, a close examination of the circumstances of her appearance and the words in which it is couched affords new perspectives on the role of women in Beowulf and on the nature of Hygelac’s kingship. Hygelac’s only daughter is given as part of a reward to Hygelac’s retainer Eofor for the slaying of the Swedish king Ongentheow. Beowulf refers to this reward with the unique noun ofermaðmas, traditionally understood to mean ‘‘great treasures’’. I argue, however, that ofermaðmas at least potentially means ‘‘excessive treasures’’. Developing this reading implies a less favourable assessment of Hygelac’s actions here than has previously been inferred. I argue further that the excess in Hygelac’s treasure-giving derives specifically from his gift of his only daughter, and the consequent loss to the Geats of the possibility of a diplomatic marriage through which they might end their feud with the Swedes. A reconsideration of Hygelac’s only daughter, then, offers new perspectives on the semantics of ofermaðum, on Hygelac’s kingship, and on women in Beowulf

Old MacDonald had a Fyrm, eo, eo, y: two marginal developments of < eo > in Old and Middle English

'Old MacDonald had a Fyrm, eo, eo, y: two marginal developments of eo in Old and Middle English' uses the new possibilities for linguistic research afforded by the Dictionary of Old English Corpus to help show phonological developments in Old and Middle English

The Etymology and Meanings of Eldritch

'The Etymology and Meanings of Eldritch' argues against the traditional derivation of eldritch from Old English *ælf-rīce (‘elf’ + ‘dominion, sphere of influence’), arguing that the etymology is rather *æl-rīce~el-rīce, the first element meaning ‘foreign, strange; from elsewhere’, and the whole therefore meaning ‘other world’. The key evidence is the variant spellings of eldritch in Older Scots texts cannot regularly be accommodated by *ælf- but can be accomodated by the prefix *æl-~el-. The article develops this point by showing that the putative origin of eldritch in ælf- seems to have influenced the definitions of eldritch given both in the Dictionary of the Older Scottish Tongue and in more recent scholarship: its connotations of elves and elvishness have in some circumstances been overplayed, and the more general meaning of ‘otherworldly’ is to be preferred

The images and structure of The Wife's Lament

No abstract available

Changing style and changing meaning: Icelandic historiography and the medieval redactions of Heiðreks saga

Sagas appeared on Scandinavian scholars' horizons around the seventeenth century, when their narratives were accepted as reasonably accurate accounts on past events. Subsequently, in the course of the nineteenth and twentieth centuries, they were increasingly recognized as literary creations that could rarely be taken as reliable narrative histories; this shift was particularly deleterious for the study of the fornaldarsogur, which not only fell from grace sooner, but were not generally thought very good literature either. Here, Hall seeks to anchor these assumptions more firmly in the surviving evidence by analyzing the changing styles, techniques, and intentions of the medieval redactions of Heidreks saga

"You Tempt me Grievously to a Mythological Essay": J. R. R. Tolkien’s Correspondence with Arthur Ransome

' "You Tempt me Grievously to a Mythological Essay": J. R. R. Tolkien’s Correspondence with Arthur Ransome', edits a letter from Tolkien to Ransome held in the Brotherton Library of the University of Leeds. On December 13th 1937, the celebrated children’s author Arthur Ransome wrote to J. R. R. Tolkien with a few comments on Tolkien’s newly published book The Hobbit. Tolkien lost no time in replying, and his letter provides one of his earliest comments on his published fiction, and a relatively early explicit commentary on his mythic writing. This article publishes for the first time Tolkien’s response to Ransome in its entirety, and answers some of the questions regarding the chronology of Tolkien’s correspondence which arise. An analysis of the letter reveals that while, as many scholars have shown, the ‘sources’ and ‘inspirations’ of The Hobbit include the likes of Beowulf and the Poetic Edda, already in 1937—and contrary to his own later claims—Tolkien’s principal primary source for fleshing out his prose stories with characters, places, and references to historical events was the vast legendarium he had created himself