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Finest heroic poem in Old English celebrates the exploits of Beowulf, a young nobleman of southern Sweden. Combines myth, Christian and pagan elements, and history into a powerful narrative. Genealogies.
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hwæt, another Beowulf translation? Not exactly… Welcome to Denmark’s Heorot Hall, where King Hrothgar invites to his banquet table everyone but Grendel, Saxon’s cradle-made monster. Dissing this ur-outsider initiates a predictable and monstrous backlash, a Mediæval fracas that only the eponymous Beowulf can quash. Sailing across the whaleroads, he arrives to “quell and queltch and quatch the Grendel beast.” Beowulf, that still-recognizable hero, embodies a “blank” function, a motive-driven yet motiveless megastar. He’s the young, fit, male, self-sacrificing protagonist-interloper who will fight any monster to protect his people. Or to defend strangers. Or to gain a reputation. Or because he just really wants to… In her rendering of Beowulf, Nicole Markotić offers a rollicking cover song of fantastical text. These pages will surprise readers as they introduce new ways to embrace, challenge, or click with Anglo-Saxon heroics. Writing original poems, Markotić de-stories the story of one man, who mostly does not play well with others, who fights monsters (and defeats their mothers, too), and who practically invents the poetic tradition of entitled bravery Upending the tale with her fresh and enchanting style, Markotić gives a nod to previous translations, winks at canonical critics, bares historical biases, all while gifting transmogrifying pages that will whet your whimsy! "Nicole Markotić takes the original English-language epic and reprocesses it. That is, she rereads, rewrites, reimagines, rethinks, and retells it, all at the same time. The result is the story re-understood. The phrasing and incantation is Markotić’s own (and our era’s own), deployed with deliciously textured and diverse registers of language. Blake saw infinity in the palm of his hand. Markotić puts a millennium in yours." —Wayde Compton, author of The Outer Harbour "Beowulf, with its unfathomable monsters and monster-slaying hero, its bro world of mead, boasting, weapons, and booty, remains a stubbornly relevant template for much of our contemporary scene. Nicole Markotić’s After Beowulf handles all this with dazzling sprezzatura. It is a pleasure to follow the narrating, condensing, commenting voice as it sashays through a range of verbal registers from high Olsonic to comic book pratfall, snark to scholarship. After Beowulf provides an up-to-date reading of Beowulf through the eyes of a feminist poet. And it continually suggests what things might be like after Beowulf." —Bob Perelman, author of Jack and Jill in Troy "The collision of ancient and colloquial language creates bursts of humour as my dude Beowulf makes his way into the banquet hall and beyond. Linger here to experience the aesthetics of poetry in action: vibrant and intensely moving, we feel the wrenching pain of Grendel’s mother. Markotić’s language is thick with meaning and light with humour: a creation of the most projective of verses." —Jacqueline Turner, author of Flourish
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Beowulf by Francis Barton Gummere O, praise of the prowess of people-kings of spear-armed Danes, in days long sped, we have heard, and what honor the athelings won! Oft Scyld the Scefing from squadroned foes, from many a tribe, the mead-bench tore, awing the earls We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.
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The Anglo-Saxon poem recounting the story of Beowulf's battle with the monster, Grendel, is retold in the style of modern verse
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Who will come to the aid of beleaguered King Hrothgar, whose warriors have become the prey of the vengeful outcast monster Grendel? A grand and glorious story that has endured for centuries, the ageless classic adventure takes on a breathtaking new life in a remarkable new version for a modern era. Brilliantly reimagined by acclaimed, award-winning author Caitlín R. Kiernan, based on the screenplay by #1 New York Times bestseller Neil Gaiman and Academy Award®-winning screenwriter Roger Avary, it is the tale of a noble liege and a terrible creature who has cursed his kingdom with death, blood, and destruction—and of the great hero, Beowulf, who is called to a land of monsters to triumph where so many have failed . . . or to die as so many of the brave before him.
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The most revered work composed in Old English, Beowulf is one of the landmarks of European literature. This handbook supplies a wealth of insights into all major aspects of this wondrous poem and its scholarly tradition. Each chapter provides a history of the scholarly interest in a particular topic, a synthesis of present knowledge and opinion, and an analysis of scholarly work that remains to be done. Written to accommodate the needs of a broad audience, A Beowulf Handbook will be of value to nonspecialists who wish simply to read and enjoy Beowulf and to scholars at work on their own research. In its clear and comprehensive treatment of the poem and its scholarship, this book will prove an indispensable guide to readers and specialists for many years to come.
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During the twenty years that have passed since the publication of J.R.R. Tolkien's famous lecture, "Beowulf, the Monsters and the Critics," interest in Beowulf as a work of art has increased gratifyingly, and many fine papers have made distinguished contributions to our understanding of the poem as poetry and as heroic narrative. Much more, however, remains to be done. We have still no systematic and sensitive appraisal of the poem later than Walter Morris Hart's Ballad and Epic, no thorough examination of the poet's gifts and powers, of the effects for which he strove and the means he used to achieve them. More than enough remains to occupy a generation of scholars. It is my hope that this book may serve as a kind of prolegomenon to such study. It makes no claim to completeness or finality; it contributes only the convictions and impressions which have been borne in upon me in the course of forty years of study of the poem. - Preface.
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Download The Story of Beowulf book written by Ernest J. B. Kirtlan, available in PDF, EPUB, and Kindle, or read full book online anywhere and anytime. Compatible with any devices.
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John M. Hill discerns a distinctive 'narrative pulse' arising out of the poem's many scenes of arrival and departure. He argues that such scenes, far from being fixed or 'type' scenes, are socially dramatic and a key to understanding the structural density of the poem.
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Not a book about what Beowulf means but how it means, and how the reader participates in the process of meaning construction. Overing’s primary aim is to address the poem on its own terms, to trace and develop an interpretive strategy consonant with the extent of its difference. Beowulf’s arcane structure describes cyclical repetitions and patterned intersections of themes which baffle a linear perspective, and suggest instead the irresolution and dynamism of the deconstructionist free play of textual elements. Chapter 1 posits the self/reader as a function of the text/language, examining the ways in which the text "speaks" the reader. Chapter 2 develops an interactive semiotic strategy in an attempt to describe an isomorphic relation between poem and reader, between text and self. Chapter 3 addresses the notions of text and self as more complex functions or formulations of desire, and thus complicates and expands the arguments of the two preceding chapters. The final chapter examines the issue of desire in the poem, and, to a lesser extent, desire in the reader (insofar as these may legitimately be viewed as distinct from each other).
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King Hrothgar of Denmark has a problem: though his land prospers, his great mead-hall is plagued nightly by a horrible beast, Grendel, that pillages and kills his men. Leaving his home in Sweden, the warrior Beowulf sails to the king's aid. Beowulf and his men camp in the mead-hall to wait for Grendel. When the beast attacks, Beowulf grabs him by the claw and rips his arm off, making the beast flee in defeat. But Grendel isn't the only challenge facing Beowulf and, even in his native Sweden, adventures and dangers await. Written between the 8th and 11th centuries, Beowulf is the oldest surviving epic poem written in Old English. This unabridged version is taken from the translation by published by John Lesslie Hall in 1892.
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'The Origins of Beowulf' suggests that the Anglo-Saxon poem Beowulf was composed in the winter of 826-7 as a requiem for King Beornwulf of Mercia on behalf of Wiglaf, the ealdorman who succeeded him. This study combines detective work with literary analysis to form a case that no future investigation will be able to ignore.
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Beowulf could well be the oldest surviving long poem in Old English and simultaneously one of the most important works of Old English literature. The action is set in Scandinavia, where Beowulf comes to the aid of Hrothgar, the king of the Danes, who is under attack by a monster known as Grendel. Beowulf conquers Grendel and finally also his mother.Later he also defeats a dragon, but is fatally wounded in the battle.
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An examination of English verse translations of Beowulf, including Seamus Heaney's version alongside other influential renditions.
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In exploring the identities of foreign fighters seeking glory abroad, this revisionist book challenges the traditional view of Beowulf as a "hero." Beowulf emphasizes the obligations attending excellence and the temptation of power, both personal and civic.
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This book brings John Gardner’s bestselling Grendel to life in the most comprehensive study of the novel to date. Using as a guide Gardner’s discussions on art, his extensive scholarship on Anglo-Saxon poetry, and his love of stories, this chapter-by-chapter analysis shows Grendel to be much more than an ironic twist on Beowulf. It reveals three distinct fights that mirror the poem, which solves mysteries that have stymied readers for decades. Anyone studying or teaching the novel will find useful analyses of Beowulf, a discussion of the novel within Gardner’s views on morality and art, and an assessment of Grendel as a modern tragic hero and anti-hero. The monster wants to be human with every ounce of his being, even at his death. This issue of identity, particularly for those who are outcast from society, culture, and community, finds resonance in nearly all of Gardner’s works. It does so in Grendel as well, and importantly so, as this work reveals.
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What makes one Anglo-Saxon poem better than another? Why does Beowulf still have the power to move us after so many centuries? What might have been aesthetically pleasing to Old English readers and writers of poetry? While there is an apparent consensus by scholars on a core of poems considered to be exceptional literary achievements - Beowulf, Judith, the Vercelli book - there has been little systematic investigation of the basis for these appraisals. With new essays on rhetoric, wordplay, meter, structure, irony, form, psychology, ethos, and reader response, the contributors to this collection aim to find objective aesthetic qualities in Anglo-Saxon poetry. Posing questions of quality and beauty as discoverable in artefacts, On the Aesthetics of Beowulf and Other Old English Poems significantly advances our understanding not only of aesthetics and Old English poetry, but also of Old English attitudes towards literature as an art form.