![]() IN 1731, THE MANUSCRIPT WAS DAMAGED BY A FIRE THAT SWEPT THROUGH ASHBURNHAM HOUSE IN LONDON THAT HAD A COLLECTION OF MEDIEVAL MANUSCRIPTS ASSEMBLED BY SIR ROBERT BRUCE COTTON THE MARGINS WERE CHARRED AND A NUMBER OF READINGS WERE LOST. THE POEM SURVIVES IN A SINGLE-COPY IN THE MANUSCRIPT KNOWN AS THE NOWELL CODEX. AFTER HIS DEATH, HIS ATTENDANTS CREMATE HIS BODY AND ERECT A TOWER ON A HEADLAND IN HIS MEMORY. FIFTY YEARS LATER, BEOWULF DEFEATS A DRAGON, BUT IS MORTALLY WOUNDED IN THE BATTLE. VICTORIOUS, BEOWULF GOES HOME TO GEATLAND (GOTALAND IN MODERN SWEDEN) AND BECOMES KING OF THE GEATS. ![]() AFTER BEOWULF SLAYS HIM, GRENDEL’S MOTHER ATTACKS THE HALL AND IS THEN ALSO DEFEATED. BEOWULF, A HERO OF THE GEATS, COMES TO THE AID OF HROTHGAR, THE KING OF THE DANES, WHOSE MEAD HALL IN HEOROT HAS BEEN UNDER ATTACK BY A MONSTER KNOWN AS GRENDEL. THE STORY OF IS SET IN SCANDINAVIA IN THE SIXTH CENTURY. THE MANUSCRIPT HAS NO TITLE PAGE OF AUTHOR TO CLAIM THE WORK, THEREFORE THE TITLE IS THE NAME OF THE MAIN PROTAGONIST BEOWULF AND THE AUTHOR IS ONLY REFERENCED AS “BEOWULF POET.” THE DATE OF THE ORIGINAL IS DEBATABLE BUT THE GENERAL CONSENSUS IS 975-1025. HISTORY/DESCRIPTION : BEOWULF IS AN OLD ENGLISH EPIC POEM OF ALLITERATIVE LINES. There is no reading of a work that is not also a reinterpretation, a "rewriting" an audience always interprets a literary.AUTHOR: UNKNOWN LANGUAGE: WEST SAXON DATE: 975-1025 PAGE #: 435 Uiteindelik beweeg die gedig nader aan 'n gehoor-identiteit waarvan die waardes voortvloei uit die stryd in die gedig en wat gevolglik ook die monsteragtige, die potensieel ontwrigtende, die duisternis in die binneste, omvat-dit wat die gedig probeer onderdruk. Die monsters is byvoorbeeld simbolies van probleme met identiteitskonstruksie en bewerkstellig 'n polariteit tussen "ons" en die "Ander", maar terselfdertyd bevraagteken hulle sodanige binere denke. Die gedig het kulturele, historiese en geestelike inligting verskaf en debat oor pertinente morele temas ontlok. Hulle sou genot gevind het in die digter se alliterasies, ritmes, woordspel, ironiee, beskrywings, aforismes, en die atmosfeer van verlies en verganklikheid wat geskep word. Die tekste was deel van die sogenaamde populate kultuur en verskaf 'n sleutel tot die "betekenisse" waarin die laat Anglo-Saksiese gehoor sou belanggestel het. Die grondbeginsel vir die groepering van hierdie uiteenlopende mengsel van Christelike en sekulere tekste rondom Beowulf was nie 'n bepaalde kanon of 'n versameling esteties onafhanklike monumente wat onaangeraak was deur kulturele omstandighede of sosiale produksie nie. Die vyf tekste van die kodeks lewer interessante leidrade vir die gemeenskaplike temas, konflikte en belange van die hipotetiese gehoor. ![]() Ook word gespekuleer oor hierdie Anglo-Saksiese gehoor se moontlike resepsie van die gedig Beowulf.ĭie onmiddellike tekstuele konteks van die gedig bepaal 'n intertekstuele mikrokosmos vir Beowulf. Hierdie artikel defineer 'n hipotetiese laat Anglo-Saksiese gehoor, naamlik 'n veelvlakkige Christelike gemeenskap met wedywerende ideologiee, dialekte en mitologiee. Finally, the poem works towards an audience identity whose values emerge from the struggle within the poem and therefore also encompass the monstrous, the potentially disruptive, the darkness within-that which the poem attempts to repress.ĭie Beowulf-manuskrip in heroorweging geneem: die moontlike resepsie van Beowulf in die laat Anglo-Saksiese Engeland The monsters, for instance, are symbolic of problems of identity construction and establish a polarity between "us" and the "Other" but at the same time question such binary thinking. The poem provided cultural, historical and spiritual data and evoked a debate about pertinent moral issues. They were part of the so-called "popular culture" and provide one key to the "meanings" that interested the late Anglo-Saxon audience, who would delight in the poet's alliteration, rhythms, word-play, irony and understatement, descriptions, aphorisms and evocation of loss and transience. The organizing principle for the grouping of this disparate mixture Of Christian and secular texts with Beowulf was not a sense of canonicity or the collating of monuments with an aesthetic autonomy from cultural conditions or social production. The five texts in the codex provide interesting clues to the common concerns, conflicts and interests of its audience. The immediate textual context of the poem constitutes an intertextual microcosm for Beowulf. It discusses how that audience might have received the Anglo-Saxon poem Beowulf. This article defines a hypothetical late Anglo-Saxon audience: a multi-layered Christian community with competing ideologies, dialects and mythologies. The Beowulf manuscript reconsidered: Reading Beowulf in late Anglo-Saxon England
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