Word-Play and Political Satire: Solving the Riddle of the Text of "Jezebel"

Galloway, Andrew

doi:10.2307/43630176

Cited by 3 publications

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“…), p. 65-78; on the same subject cf. van Houts , 1992;Galloway , 1999. h e second uncertain text is Semiramis, inc.: "Fama puellaris tauri corrupitur extis" ( Schaller and Könsgen , 1977, no.…”

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confidence: 99%

Topographical and Thematic Perspectives in the Latin Poetry of the First Anglo-Norman Kings

Angelini¹

2018

tabularia

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h is study deals with Norman poetry: it examines the authors, the texts, and especially the literary genres to which they belonged, in the period between the XIth and XIIth centuries. Following a chronological order, the analysis starts from XIth-century Normandy: the main political and religious centres, Rouen, Caen and Le Bec, were also the most important places of poetic output. Most of these writings are hagiographies or encomia of important i gures in the ducal and royal courts. In this regard, Serlo of Bayeux stands out as a clear example: his poems are valuable historical evidence for the Norman relationship with the English and their king in 1105-1106. In England, at er the bold enterprise of William the Conqueror, Norman, Flemish, French and Italian learned men had a very important role in cultural life. York and Canterbury were the most prominent centres for versii cation. h e study ends by focusing on the numerous verses contained in the historical works of Orderic Vitalis, William of Malmesbury and Henry of Huntingdon. Riassunto :Lo studio riguarda la poesia normanna : autori, testi, ma soprattutto i loro generi letterari, nel periodo tra XI e XII secolo. L'analisi procede a un esame in ordine cronologico, a partire dalla Normandia del Mille. I principali centri politici e religiosi, Rouen, Caen, Le Bec, furono allo stesso tempo capoluoghi di produzione poetica. In maggioranza i testi riguardano temi agiograi ci o encomiastici, rivolti alle più eminenti i gure delle corti ducali e regali. A questo proposito, Serlo di Bayeux rappresenta un caso esemplare, con i suoi versi, circa le relazioni con gli Inglesi e il loro sovrano nel periodo tra 1105 e 1106. In Inghilterra, in particolare, dopo l'audace impresa di Guglielmo il Conquistatore, intellettuali normanni, i amminghi, francesi e italiani ebbero un ruolo molto importante nella vita culturale britannica. York e Canterbury furono gli ambiti preminenti anche sotto il proi lo della versii cazione. Lo studio termina con un esame specii co dei numerosi carmi presenti nelle cronache di Orderico Vitale, Guglielmo di Malmesbury ed Enrico di Huntingdon.

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Section: Résumémentioning

confidence: 99%

Topographical and Thematic Perspectives in the Latin Poetry of the First Anglo-Norman Kings

Angelini¹

2018

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“…The anonymous poet responsible for the Rouen Cnut satires apparently found the pairing of Latin Canutus and the adjective cornutus 'horned' irresistibly funny; on one occasion he asserts adultery, claiming that 'painter's fingers have made a horn [cornu] for a rope [Latin rudens = ON knútr "knot"]'. 18 The origin of polysyllabic Canutus 'the gray, hoary one' is uncertain, but usually blamed on French or Norman authors writing in Latin. 19 This onomastic adjustment encouraged AElnoth of Canterbury, eulogizing a later royal Cnut, to praise his sensus canities 'maturity of judgement', his candor 'radiance' of life, and his association with the canon of the saints.…”

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A taste for knottiness: skaldic art at Cnut’s court

Frank

2018

Anglo-Saxon England

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During Cnut’s two decades on the throne, his English court was the most vibrant centre in the North for the production and performance of skaldic praise poetry. Icelandic poets composing for earlier Anglo-Saxon kings had focused on the predictive power of royal ‘speaking’ names: for example, Æthelstan (‘Noble-Rock’) and Æthelred (‘Noble-Counsel’). The name Cnut presented problems, vulnerable as it was to cross-linguistic gaffes and embarrassing associations. This article reviews the difficulties faced by Cnut’s skalds when referring in verse to their patron and the solutions they devised. Similar techniques were used when naming other figures in the king’s vicinity. The article concludes with a look at two cruces in an anonymous praise poem celebrating Cnut’s victory in battle in 1016/17 against the English. Both onomastic allusions — to a famed local hero and a female onlooker — seem to poke fun at the ‘colonial’ pronunciation of Danish names in Anglo-Scandinavian England. Norse court poetry was nothing if not a combative game.

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How to Read Like a Fool: Riddle Contests and the Banquet of Conscience inPiers Plowman

Gruenler¹

2010

Speculum

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Tolmie, and the readers for Speculum as well as my students Katherine Masterton and Peter Kleczynski for their comments on versions of this article. It is part of a larger project on the medieval poetics of enigma in Piers Plowman and its contemporaries, and I am very grateful for the support I have received for this work from an Andrew W. Mellon Foundation Grant at the Huntington Library and from Hope College's Sluyter Fellowship, Jacob E. Nyenhuis Faculty Development Grants, and CrossRoads Project. 1 1 Corinthians 13.12, my translation of the Vulgate, "Videmus nunc per speculum in aenigmate; tunc facie ad faciem," in Biblio sacra iuxta vulgatam versionem, ed. Robert Weber et al., 3rd corr. ed. (Stuttgart, 1983), which is in turn a direct translation from the original Greek. The better-known English phrase, "We see now through a glass darkly," which comes from the 1560 Geneva Bible by way of the King James Version, obscures the Greek term ainigma. The Challoner edition of the Douay-Rheims translation, which I use elsewhere for translations from the Vulgate, reads, "We see now through a glass in a dark manner; but then face to face"

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Word-Play and Political Satire: Solving the Riddle of the Text of "Jezebel"

Cited by 3 publications

References 0 publications

Topographical and Thematic Perspectives in the Latin Poetry of the First Anglo-Norman Kings

Topographical and Thematic Perspectives in the Latin Poetry of the First Anglo-Norman Kings

A taste for knottiness: skaldic art at Cnut’s court

How to Read Like a Fool: Riddle Contests and the Banquet of Conscience inPiers Plowman

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