By A. G. Rigg
A accomplished heritage of medieval Anglo-Latin writings (which characterize an wonderful 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 modifying of many very important texts. A. G. Rigg's new authoritative reference paintings underlines how the view of England's literary historical past within the center a while as a decline from Anglo-Saxon tradition (recuperated purely within the fourteenth century within the paintings of writers equivalent 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 unearths a truly wealthy corpus of writings, comprising epic, lyric, comedy, satire, prose anecdotes, romance, saints' lives and devotional texts. This chronological background 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 resources for A History of Anglo-Latin Literature, 1066-1422
84 Two of these are rhythmical poems. The first consists of 128 lines of couplets: O preclara mater matris quae concepit verbum patris Non commixtione maris, sed ut virgo singularis O mother of the mother who conceived The Father's word Without afleshlyunion with a man, A maid unique. The second, written in combinations of 8p and 7pp (sometimes producing the Stabat mater stanza), was for the use of a nun, as it is in the feminine: Fac ut grata vivam deo castitatis cum tropheo stricta sponsi fascia Grant that I may please my Lord And proffer chastity's reward, Bound firmly to the groom.
20-31) all concern Canterbury itself. There are poems in honour of Augustine, Lawrence and Mellitus, Justus and Honorius, Deusdedit, Theodore, Hadrian and Theodore, Mildred, Letard, and Ethelbert and Bertha (LMP Nos. 20-8); these are followed by the 'tituli' of the Canterbury saints, archbishops and abbots (LMP No. 29); finally, two poems (LMP Nos. 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.
The first is a propempticon to his muse, who has only a short way to go, an hour or so: Non est longa via quam debes ire, Thalia; Parvam tolle moram ! Potes ire, redire, per horam Unam, quo celeris apices hos ferre iuberis (LMP 8, 1-3) You don't have far to go, my merry muse, and so There's no need to be slack: to go both there and back A single hour will do to get this message through. She need not be afraid as Reginald will accompany her ('Comes ibo'). He wonders what poem he can send to Arnulf, whom he praises and to whom he commends wisdom; finally he decides to send Malchus and asks for Arnulf s patronage.