Buku The Aesthetics of Nostalgia: Historical Representation in Old English Verse (Toronto Anglo-Saxon Series) by Trilling Renee R
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Buku The Aesthetics of Nostalgia: Historical Representation in Old English Verse (Toronto Anglo-Saxon Series) by Trilling Renee R

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The Aesthetics of Nostalgia: Historical Representation in Old English Verse (Toronto Anglo-Saxon Series) by Trilling Renee R

Author:Trilling, Renee R. [Trilling, Renee R.]

Language: eng

Format: azw3

Publisher: University of Toronto Press, Scholarly Publishing Division

Published: 2016-11-20T16:00:00+00:00

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The Aesthetics of Nostalgia: Historical Representation in Old English Verse (Toronto Anglo-Saxon Series) by Trilling Renee R

He takes charge even before the start of the battle, by offering guidance to his men in both word and deed. The warriors respond precisely as warriors should; each one marches forward full of resolve and determination:

Even at the level of form, the poem emphasizes its heroic context. In each line, the alliteration calls attention to the trappings of heroic warfare that decorate the poem: appositives for war, battle, weapons, and lord cluster around named figures like Offa’s kinsman and Eadric in addition to Byrhtnoth, offering proof of these characters’ fitness and propriety as warriors. The aesthetic method is not dissimilar to Wulfstan’s in the Sermo Lupi, but whereas Wulfstan offers an endless catalogue of negative examples, Maldon compiles instances of honour and glory as moral desiderata.105 The actions of individuals are the ground upon which the battle will be won or lost, and the men of Kent declare their support for Byrhtnoth by stepping forward with weapons and refusing to ‘wacian æt þam wige.’106 Byrhtnoth exhorts the troops not to be afraid, and he himself fights among them, significantly placing himself ‘þær he his heorðwerod holdost wiste’ [where he knew that his hearth-companions were most loyal] (line 24). The leader’s chosen place to fight is not where the soldiers are biggest, bravest, or strongest, but where they are most loyal, a detail explicitly reinforcing what was implicit in the behaviour of Offa’s kinsman and Eadric: loyalty is the paramount virtue of the heroic warrior. In the poem, however, these men are not simply loyal men, but the ‘hearth-companions’ of the ancient Germanic comitatus. The invocation of the heroic tradition both thematically and lexically indicates immediately the generic conventions that will govern this narrative; readers know that they can expect bravery, loyalty, and honour from the heroes of Maldon.

In the first twenty-five lines of the poem, the roles and responsibilities of the English army are categorically laid out: the soldiers must simply stand fast in battle, and the general must encourage and exhort the soldiers, leading by example. The distinction between loyal and disloyal soldiers will thus be based on who scatters and who doesn’t, and the moral weight of that distinction is made clear from the very beginning of the poem.107 Eadric and Offa’s kinsman declare their intention not to weaken in the fight; Wulfstan, Ælfhere, and Maccus similarly

 

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The Aesthetics of Nostalgia: Historical Representation in Old English Verse (Toronto Anglo-Saxon Series) by Trilling Renee R

Author:Trilling, Renee R. [Trilling, Renee R.] , Date: June 6, 2019

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Author:Trilling, Renee R. [Trilling, Renee R.]

Language: eng

Format: azw3

Publisher: University of Toronto Press, Scholarly Publishing Division

Published: 2016-11-20T16:00:00+00:00
He takes charge even before the start of the battle, by offering guidance to his men in both word and deed. The warriors respond precisely as warriors should; each one marches forward full of resolve and determination:

Even at the level of form, the poem emphasizes its heroic context. In each line, the alliteration calls attention to the trappings of heroic warfare that decorate the poem: appositives for war, battle, weapons, and lord cluster around named figures like Offa’s kinsman and Eadric in addition to Byrhtnoth, offering proof of these characters’ fitness and propriety as warriors. The aesthetic method is not dissimilar to Wulfstan’s in the Sermo Lupi, but whereas Wulfstan offers an endless catalogue of negative examples, Maldon compiles instances of honour and glory as moral desiderata.105 The actions of individuals are the ground upon which the battle will be won or lost, and the men of Kent declare their support for Byrhtnoth by stepping forward with weapons and refusing to ‘wacian æt þam wige.’106 Byrhtnoth exhorts the troops not to be afraid, and he himself fights among them, significantly placing himself ‘þær he his heorðwerod holdost wiste’ [where he knew that his hearth-companions were most loyal] (line 24). The leader’s chosen place to fight is not where the soldiers are biggest, bravest, or strongest, but where they are most loyal, a detail explicitly reinforcing what was implicit in the behaviour of Offa’s kinsman and Eadric: loyalty is the paramount virtue of the heroic warrior. In the poem, however, these men are not simply loyal men, but the ‘hearth-companions’ of the ancient Germanic comitatus. The invocation of the heroic tradition both thematically and lexically indicates immediately the generic conventions that will govern this narrative; readers know that they can expect bravery, loyalty, and honour from the heroes of Maldon.

In the first twenty-five lines of the poem, the roles and responsibilities of the English army are categorically laid out: the soldiers must simply stand fast in battle, and the general must encourage and exhort the soldiers, leading by example. The distinction between loyal and disloyal soldiers will thus be based on who scatters and who doesn’t, and the moral weight of that distinction is made clear from the very beginning of the poem.107 Eadric and Offa’s kinsman declare their intention not to weaken in the fight; Wulfstan, Ælfhere, and Maccus similarly

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