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Anglo-Saxon Literature: An Introduction

Anglo-Saxon Literature: An Introduction

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Anglo-Saxon Literature: An Introduction. Literature. Characteristics Few “pieces” of literature; however, it covers a larger period of time than any other literary period Originated to celebrate heroism - PowerPoint PPT Presentation

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Page 1: Anglo-Saxon Literature:  An Introduction

Anglo-Saxon Literature: An Introduction

Page 2: Anglo-Saxon Literature:  An Introduction

Literature

Characteristics Few “pieces” of literature; however, it covers a

larger period of time than any other literary period Originated to celebrate heroism Oral literature (due to widespread illiteracy);

therefore, it has to be told from person to person Doesn’t rhyme, but has a strong rhythm suitable for

chanting. Recited by the scops/bards (wandering poets) who

sang of gods and heroes Status of scops was equal to that of warriors because they

preserved fame

Page 3: Anglo-Saxon Literature:  An Introduction

Literature

Content Strong belief in fate Juxtaposition of church and pagan worlds Admiration of heroic warriors who prevail in battle Express religious faith and give moral instruction

through literature Communal hall represents shelter and

entertainment Full of battles; boastings, pride in glory and blood-

thirstiness Measures time by nights, moons and winters Spiritedness is achieved by respect for bravery and

loyalty

Page 4: Anglo-Saxon Literature:  An Introduction

Common Themes of Poetry

Terror of northern wintersAwareness of transitory nature of lifeReferences to fear of the sea because of

its immensity, cruelty and mystery

Page 5: Anglo-Saxon Literature:  An Introduction

Literary Devices: AlliterationRepetition of initial consonant soundUsed to bind the two halves of a lineOne or more accented syllable in the first

half of a line is always alliterated with one or more accented syllable in the second half.

Gives poetry a chant-like effect

Ex) “tears torn out of Grendel’s taut throat”

Page 6: Anglo-Saxon Literature:  An Introduction

Literary Devices: HomilyLiterally "sermon", or any serious talk,

speech, or lecture providing moral or spiritual advice.

A passage in a work that gives stern solemn advice on how to live and is mostly concerned with morals and conduct.

Page 7: Anglo-Saxon Literature:  An Introduction

Literary Devices: Caesura

“Every nice ear, must, I believe, have observed that in any smooth English verse of ten syllables, there is naturally a pause either at the fourth, fifth, or sixth syllable.” – Alexander Pope

Page 8: Anglo-Saxon Literature:  An Introduction

Literary Devices: CaesuraA natural pause or break dividing a FOOT

between two words, usually near the middle of a line with two major stressed syllables in each partA FOOT is a unit of rhythm in verse

Found in typical Anglo-Saxon verseLiterally: “a cutting”

Old English, cennan – to declareOld Norse, kenna – to know or name

Page 9: Anglo-Saxon Literature:  An Introduction

Literary Devices: Caesura

Examples A prince of Geats had killed Grendel

Page 10: Anglo-Saxon Literature:  An Introduction

Literary Devices: Caesura

How do I identify the stressed vs. the unstressed syllables?stress/accent – a greater amount of force

(breath or emphasis) given to one syllable in speaking than is given to another.

Slightly louder, higher in pitch, or longer in duration than other syllables

Page 11: Anglo-Saxon Literature:  An Introduction

Which syllable is stressed?

Eagle

Cigar

Mystique

Impact

Open

Precise

Statue

Until

Page 12: Anglo-Saxon Literature:  An Introduction

Words typically without a stress

AAnTheAtBy

ForFromOfToWith

Page 13: Anglo-Saxon Literature:  An Introduction

Identify the Stressed Syllables

By John Donne

Batter my heart, three-personed God, for You

As yet but knock, breathe, shine, and seek to mend;

That I may rise and stand, o’erthrow me, and bend

You force to break, blow, burn, and make me new.

Page 14: Anglo-Saxon Literature:  An Introduction

Identify the Caesura

By William Blake

And priests in black gowns were walking their rounds

And binding with briars my joys and desires.

Page 15: Anglo-Saxon Literature:  An Introduction

Literary Devices: Appositive

An appositive is a noun or pronoun — often with modifiers — set beside another noun or pronoun to explain or identify it.

An appositive phrase usually follows the word it explains or identifies, but it may also precede it.

Page 16: Anglo-Saxon Literature:  An Introduction

Literary Devices: Epithet A word which makes the reader see the object described in a clearer

or sharper light. It is both exact and imaginative. A word of phrase preceding or following a name which serves to

describe the character. A short, poetic nickname--often in the form of an adjective or

adjectival phrase--attached to the normal name. The Homeric epithet in classical literature often includes compounds of two words

such as, "fleet-footed Achilles," "Cow-eyed Hera," "Grey-eyed Athena," or "the wine-dark sea." In other cases, it appears as a phrase, such as "Odysseus the man-of-many-wiles.”

The historical epithet is a descriptive phrase attached to a ruler's name. For instance, King Alfred the Great, Duke Lorenzo the Magnificent, Robert the Devil, Richard the Lionheart, and so on.

The generally descriptive epithet would appear in Old Norse and Germanic cultures to help distinguish individuals, thus giving us (in Njal's Saga) colorful names such as Hallbjorn Half-Troll, Ulf the Squinter, Hjorleif the Womanizer, and Ketil Flat-Nose.

Page 17: Anglo-Saxon Literature:  An Introduction

Literary Devices: Kenning

Kenning A figurative, metaphorical expression/phrase or

compound word that takes the place of a common noun

A long-winded, forceful metaphor made up of strung-together adjectives and nouns that stand for a thing without naming it (often using alliteration)

Vivid and picturesque Connects words to complex concepts and rich

emotion

Examples . . .

Page 18: Anglo-Saxon Literature:  An Introduction

Whale-road

Page 19: Anglo-Saxon Literature:  An Introduction

sea

Page 20: Anglo-Saxon Literature:  An Introduction

Candle of the sky

Page 21: Anglo-Saxon Literature:  An Introduction

sun

Page 22: Anglo-Saxon Literature:  An Introduction

More Examples of Kennings

twilight-spoiler

battle-sweat

slaughter-dew

brow-stars

ring-giver

light of battle

Viking’s moon

sun-table

dragonblood

eyesprinceswordshield

blood

sky

Page 23: Anglo-Saxon Literature:  An Introduction

Examples of Kennings from Beowulf

Ship: the bent-necked

wood the ringed prow the foamy-necked the sea-wood the sea-farer

Dragon twilight spoiler

QueenThe peace-bringer

among nationsSword

leavings of the fileBattle

storm of swords

Page 24: Anglo-Saxon Literature:  An Introduction

A look at complex kennings

Construct complicated kenning strings by means of consecutive substitution.

For example, slaughter dew worm dance = battle

Slaughter dew worm dance

blood worm dance

sword dance

battle

Page 25: Anglo-Saxon Literature:  An Introduction

Compound Kennings

=ship

horse of the sea

=sea whale-road

Page 26: Anglo-Saxon Literature:  An Introduction

=

then a ship became a “horse of the whale-road”

Page 27: Anglo-Saxon Literature:  An Introduction

Try this Complex Kenning

Using the following 3 kennings, create a complex kenning meaning “warrior” by using consecutive substitution

“provider to ravens” is a warrior

“swans of blood” are ravens

“mead of battle" is blood

Page 28: Anglo-Saxon Literature:  An Introduction

Did you get it?provider to the swans of the

mead of battle “provider to ravens” is a warrior “swans of blood” are ravens “mead of battle" is blood

provider to RAVENS swans of BLOOD

mead of battle =

provider to the swans of the mead of battle

is a WARRIOR

Page 29: Anglo-Saxon Literature:  An Introduction

Modern Kennings bone-house fire-water information super-highway gasoline gulper darkness destroyer sleep stopper word-eater sun smudge spinning water-spitter