STUDIES IN PHILOLOGY最新文献

Abstract:

This article focuses on the parallels that can be drawn between the characters and landscapes of the fourteenth-century Pearl poem and the fairy characters and otherworlds that frequently appear in works of medieval romance. It argues that the Pearl-poet is consciously engaging with readily identifiable fairy themes and motifs, made popular through a wide range of romances and other sources, in order to help propagate a certain ambiguity within the poem: one that feeds into the broader epistemological themes that are present within the text. More specifically, this article shows that the poet's manipulation of these motifs forms part of the broader unraveling of the poem, in which both the dreamer's and the reader's ability to comprehend the nature of the vision develops as the poem progresses. Drawing on two works in particular, the fourteenth-century alliterative romance Sir Gawain and the Green Knight and Chrétien de Troyes's twelfth-century French romance Le Conte du Graal, this article argues that Pearl parallels these texts in the way that they utilize otherworldly conventions to inhibit both the protagonist's and the reader's ability to rationalize the events taking place within the poem. By identifying the poet's use of fairy conventions in Pearl, a poem that consistently draws attention to the limits of human knowledge, this article examines, from a fresh perspective, the poet's exploration of ineffability and of the divide between material and spiritual modes of existence.

Abstract:

George Herbert's "Easter-wings" is perhaps the best-known shape poem in the English language. As such, it has been the subject of intense and sustained scholarly scrutiny. With very few exceptions, however, critics have shown surprisingly little interest in contextualizing the poem in light of the Hellenistic tradition of shape poetry from which the Renaissance figure poem ultimately descends. In particular, no previous scholarly examination of the poem has taken into account the genre's penchant for encrypted reading and plural signification. In doing just this, the present essay uncovers another semantically coherent, arresting, "new" version of "Easter-wings" that has been hiding in plain sight all along, a combined "Easter-wings" that remains visible today in the poem's two surviving manuscript sources. Enlisting qualitative and quantitative approaches to analyzing Herbert's corrections in the palimpsestic backdrop of the only authorially supervised manuscript copy of The Temple, it finds that these authorial revisions exist with the primary (and hitherto unrecognized) purpose of better supporting a combined reading of the poem. Finally, by discussing some of the more pressing challenges facing future editors of The Temple, this essay also draws on and contributes to ongoing scholarship in textual criticism, material texts, and the history of the book.

Abstract:

Emerging from the growing subfield of emotion history, this essay anatomizes the discourse of jealousy in early modern England. Through lexical analysis of a wide range of sources, the essay outlines how the passion of jealousy was understood in Renaissance England, treating four broad categories: (1) definitions of jealousy; (2) contexts of jealousy; (3) the experience of jealousy; and (4) sufferers of jealousy. Taken together, the analysis here presents one of the most complete accounts of early modern jealousy to date and points to the emotion's considerable importance in the period.

Abstract:

This article explores the intricate connections between motherhood and construction in the fourteenth-century French Roman de Melusine. Presine can be viewed as a model for her daughter, in that she uses physical space to exert her influence on women's networks of family and dynasty. Melusine's legacy is enacted through both prolific reproduction and construction, as she gives birth to ten sons and founds multiple castles and towns. This article argues that Jean d'Arras uses the crusader queen Melisende as another model for his heroine Melusine, indicating that motherhood and construction were connected in history as well as in literature.

Abstract:

Cyriakus Spangenberg (d. 1604), a prominent Protestant theologian, seeks to trace and celebrate the history of the comital House of Mansfeld in his dynastic chronicle, Mansfeldische chronica (Eisleben, 1572). There, he includes a brief biographical entry on King Arthur that links the Round Table to Hoyer the Red, imagined progenitor of the Counts of Mansfeld and Arthurian paladin (fl. ca. 550 AD). Spangenberg’s intertwined material on King Arthur and Count Hoyer, we have found, draws on the works of Geoffrey of Monmouth, Johannes Agricola, Wirnt von Grafenberg, and Polydore Vergil. Polydore is a surprising choice as an Arthurian arbiter and sympathetic voice, given his reputation for skepticism about Galfridian lore and the place of King Arthur in British history. Spangenberg’s willingness to promote Polydore’s witness reveals that, in this important early modern case of reception, contemporary and modern critical assessments fail to align.

Abstract:

Line 1314b of Beowulf is regularly emended to “alwalda” (Ruler of All) from the manuscript form “alf walda” (Ruler of Elves). But the other instances of “alwalda” in Beowulf do not have visible space between the l and the w, and no plausible motivation for the addition of an f and a space has been proposed if the exemplar read “alwalda.” We contend, therefore, that MS “alf walda” is correct, and that the compound refers to the pre-Christian deity Yngvi-Freyr (to use the more familiar Norse name) rather than to the Christian God. We note that in the same passage in which “alf walda” appears, the Danes are called the “Ingwine” (friends/followers of Ing) and that later in the poem Hrothgar’s daughter is named “Freawaru” (watchful care of Freyr). Connecting this material with archaeological finds at Gamle Lejre that indicate the sacrifice of pigs (Freyr’s sacred animal), the place name Hleiðra (“the place of the tent”), and the statement in line 175 that the Danes made sacrifices “æt hærgtrafum” (at the pagan tabernacles), we argue that “alf walda” is part of a larger pattern of connections between the Danes in Beowulf and pre-Christian Germanic practices that appear to have been understood by one of Beowulf’s sources (and perhaps by the Beowulf-poet) but which were opaque to later scribes.

Abstract:

This essay argues that the textual differences between the quarto and folio versions of William Shakespeare’s 2 Henry VI evince the three-way ideological contestation between the aristocracy, the middling sort, and the lower classes in early modern England. Perhaps the most famous scenes from the play, those depicting Jack Cade’s rebellion, exist in both versions, but the portrayal of the uprising is very different between the two texts. The 1594 quarto gives us a vicious Cade intent on destroying businesses, raping women, and spurning well-meaning nobles; the 1623 folio version, by contrast, gives us an eloquent if imperfect Cade whose grievances are justified, reasoned, and well articulated. Political and economic power was steadily shifting during this period from the aristocracy to the middling sort, and, although the differences in Cade’s rebellion from the quarto to the folio might seem to indicate a revision in favor of the rebels, what the changes represent is the beginning of the transfer of ideological power from the aristocracy to upper-class commoners. To the nobility, the rebels are rioters, intent on causing chaos. For the middling sort, it was more advantageous to label them justified protesters, as the rebellion might remove the middling sort’s direct competition—the aristocracy. Thus, the two authoritative texts of Shakespeare’s 2 Henry VI can help us understand changing perceptions of popular riot and protest in the period and their connection to dominant and emerging class ideologies.

Abstract:

This essay reads Samuel Johnson’s Rasselas (1759) against the background of negative or apophatic theology and argues that it is unique among Johnson’s works in expressing a sense of life as an enigma. The silent or hidden symbol of the story is the Giza Sphinx, one of the foundational symbols of such theology: the second-century Church Father Clement of Alexandria, whose works Johnson owned, associated the enigmas of the Hebrew Bible with the mystery of the Egyptian sphinxes. More widely, Rasselas contains absent objects and symbols, enigmatic silences and responses, hidden images and paradoxes, self-defeating dualisms and habits of style, apophatic philosophy (“philosophy can tell no more”), and an enigmatic conclusion (“nothing”). The apophatic quality is embodied in the text through what Jorge Luis Borges refers to as Rasselas’s “agile music,” the subtle, flexible management of narrative voices, which generates a distinctive kind of attention in the reader.

Abstract:

This essay presents a reading of Sir William Davenant’s previously unstudied poem “Epithalamium. The Morning after the Marriage of the Earl of Barymore with Mrs. Martha Laurence,” written in October 1656. The poem offers a significant comparison to Andrew Marvell’s near-contemporary wedding song for the marriage of Oliver Cromwell’s daughter Mary. It thereby sheds light on Cromwellian poets’ efforts to formulate a poetic language in which to address the Protectoral court. The essay contextualizes the poem in the political realignment of the Cromwellian regime in 1656–1657. It suggests that Davenant’s paradoxical style attempts to adapt the courtly epithalamium to the minimalistic religious settlement and the principle of toleration for Protestants that underpinned the Cromwellian coalition. In this way, the poem illustrates how the 1650s Davenant can be read as a Cromwellian poet, alongside Marvell, Edmund Waller, and even John Milton, developing his ambitious and idiosyncratic ideas about public festivity and civil religion.

Abstract:

A wide variety of scholars have examined the settings of the Old English epic Beowulf, interpreting the text in a myriad of ways and providing valuable information on sources and analogues. This article seeks to build upon and add to this body of scholarship by applying landscape history and a variety of archaeological evidence to the poem in order to develop a further understanding of the landscape settings of Beowulf as literary representations of real topographical features of early medieval England. Attention is paid to the mere and lair of the Grendle-kin, the barrow of the dragon, and Beowulf’s own final resting place. Analysis of these landscapes, grounded in the historical topography of England, enhances an interpretation of the text as a statement on humanity’s relationship with the past and hope for the future.