By A. G. Rigg
A finished background of medieval Anglo-Latin writings (which characterize an marvelous 9 tenths of English literary tradition within the period). The prior century because the final significant paintings in this topic has obvious the invention and enhancing of many vital texts. A. G. Rigg's new authoritative reference paintings underlines how the view of England's literary heritage within the heart a long time as a decline from Anglo-Saxon tradition (recuperated purely within the fourteenth century within the paintings of writers comparable to Chaucer) ignores the flourishing culture of Latin literature written among England's enforced access into the eu mainstream and the increase of the vernacular and of humanism. It finds a really wealthy corpus of writings, comprising epic, lyric, comedy, satire, prose anecdotes, romance, saints' lives and devotional texts. This chronological heritage offers quotations within the unique Latin with English translations in verse or prose; Anglo-Latin metres are defined and exemplified in an appendix.
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Extra info for A History of Anglo-Latin Literature, 1066-1422
30-1) are addressed to the choir, exhorting them to sing in praise. This series is remarkable for an unusual kind of rhyme, not seen again until Michael of Cornwall, 68 in which the middle of a word, or the end of one and the beginning of the next, rhyme with the final syllables of the line; in the first poem the last word of one line is repeated as the first of the next: Laudibus Augustine, tui decus efFero busti, Busti, quod celebrate lira iuvat et fide crebra. Crebra tuum clamabit opus laus crebraque fama (LMP 20, 1-3) The glory of your tomb, Augustine, sing I must.
The prose recounts Godwin's quarrel with Robert of Jumieges, his exile, Edith's retirement to Wilton, and Godwin's restoration, with poems on injustice (Godwin's unjust fall) and David's sparing of Saul (that is, Godwin's humility to Edward). After Godwin's death, Harold and Tostig are praised as models; a poem here begins with praise of them, but laments the dire effects of discord. As though there had been no mention of strife, the prose says that England thrived, guarded by the two brothers; it recalls Edward's love of hunting, and praises the virtues of Edward and Edith.
He also used some traditional classical lyric metres: adonics, the Fourth Asclepiad, and an eleven-syllable line perhaps based on the Sapphic line. These quantitative lyric metres disappeared from Anglo-Latin until the metrical experiments ofJohn Seward in the early fifteenth century. The influence of Martianus and Boethius is also seen in the prosimetrum. This form (to be distinguished from chronicles which simply quote apposite poems) regularly alternates passages of prose and verse, in which the poems summarize or 14 POLITICAL POETRY AND EPITAPHS comment on the prose argument.