AS-Prase-Poem-art - 3/26/09 ਀ഊ"An Anglo-Saxon Praise Poem" by Mistress Siobhán ní hEodhusa. ਀ഊNOTE: See also the files: medvl-poetry-lnks, poems-msg, poetry-msg, Rondeau-art, On-Vocal-Perf-art, Icelndic-poet-art, Iambic-Pent-art, Goliard-Poets-bib. ਀ഊ************************************************************************ ਀一伀吀䤀䌀䔀 ⴀഊ ਀吀栀椀猀 昀椀氀攀 椀猀 愀 挀漀氀氀攀挀琀椀漀渀 漀昀 瘀愀爀椀漀甀猀 洀攀猀猀愀最攀猀 栀愀瘀椀渀最 愀 挀漀洀洀漀渀 琀栀攀洀攀 琀栀愀琀 䤀 栀愀瘀攀 挀漀氀氀攀挀琀攀搀 昀爀漀洀 洀礀 爀攀愀搀椀渀最 漀昀 琀栀攀 瘀愀爀椀漀甀猀 挀漀洀瀀甀琀攀爀 渀攀琀眀漀爀欀猀⸀ 匀漀洀攀 洀攀猀猀愀最攀猀 搀愀琀攀 戀愀挀欀 琀漀 ㄀㤀㠀㤀Ⰰ 猀漀洀攀 洀愀礀 戀攀 愀猀 爀攀挀攀渀琀 愀猀 礀攀猀琀攀爀搀愀礀⸀ഊ ਀吀栀椀猀 昀椀氀攀 椀猀 瀀愀爀琀 漀昀 愀 挀漀氀氀攀挀琀椀漀渀 漀昀 昀椀氀攀猀 挀愀氀氀攀搀 匀琀攀昀愀渀✀猀 䘀氀漀爀椀氀攀最椀甀洀⸀ 吀栀攀猀攀 昀椀氀攀猀 愀爀攀 愀瘀愀椀氀愀戀氀攀 漀渀 琀栀攀 䤀渀琀攀爀渀攀琀 愀琀㨀 栀琀琀瀀㨀⼀⼀眀眀眀⸀昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ ਀䤀 栀愀瘀攀 搀漀渀攀 愀 氀椀洀椀琀攀搀 愀洀漀甀渀琀 漀昀 攀搀椀琀椀渀最⸀ 䴀攀猀猀愀最攀猀 栀愀瘀椀渀最 琀漀 搀漀 眀椀琀栀 猀攀瀀愀爀愀琀攀 琀漀瀀椀挀猀 眀攀爀攀 猀漀洀攀琀椀洀攀猀 猀瀀氀椀琀 椀渀琀漀 搀椀昀昀攀爀攀渀琀 昀椀氀攀猀 愀渀搀 猀漀洀攀琀椀洀攀猀 攀砀琀爀愀渀攀漀甀猀 椀渀昀漀爀洀愀琀椀漀渀 眀愀猀 爀攀洀漀瘀攀搀⸀ 䘀漀爀 椀渀猀琀愀渀挀攀Ⰰ 琀栀攀 洀攀猀猀愀最攀 䤀䐀猀 眀攀爀攀 爀攀洀漀瘀攀搀 琀漀 猀愀瘀攀 猀瀀愀挀攀 愀渀搀 爀攀洀漀瘀攀 挀氀甀琀琀攀爀⸀ഊ ਀吀栀攀 挀漀洀洀攀渀琀猀 洀愀搀攀 椀渀 琀栀攀猀攀 洀攀猀猀愀最攀猀 愀爀攀 渀漀琀 渀攀挀攀猀猀愀爀椀氀礀 洀礀 瘀椀攀眀瀀漀椀渀琀猀⸀ 䤀 洀愀欀攀 渀漀 挀氀愀椀洀猀 愀猀 琀漀 琀栀攀 愀挀挀甀爀愀挀礀 漀昀 琀栀攀 椀渀昀漀爀洀愀琀椀漀渀 最椀瘀攀渀 戀礀 琀栀攀 椀渀搀椀瘀椀搀甀愀氀 愀甀琀栀漀爀猀⸀ഊ ਀倀氀攀愀猀攀 爀攀猀瀀攀挀琀 琀栀攀 琀椀洀攀 愀渀搀 攀昀昀漀爀琀猀 漀昀 琀栀漀猀攀 眀栀漀 栀愀瘀攀 眀爀椀琀琀攀渀 琀栀攀猀攀 洀攀猀猀愀最攀猀⸀ 吀栀攀 挀漀瀀礀爀椀最栀琀 猀琀愀琀甀猀 漀昀 琀栀攀猀攀 洀攀猀猀愀最攀猀 椀猀 甀渀挀氀攀愀爀 愀琀 琀栀椀猀 琀椀洀攀⸀ 䤀昀 椀渀昀漀爀洀愀琀椀漀渀 椀猀 瀀甀戀氀椀猀栀攀搀 昀爀漀洀 琀栀攀猀攀 洀攀猀猀愀最攀猀Ⰰ 瀀氀攀愀猀攀 最椀瘀攀 挀爀攀搀椀琀 琀漀 琀栀攀 漀爀椀最椀渀愀琀漀爀⠀猀⤀⸀ഊ ਀吀栀愀渀欀 礀漀甀Ⰰഊ Mark S. Harris AKA: THLord Stefan li Rous ਀                                          匀琀攀昀愀渀 愀琀 昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ************************************************************************ ਀ഊNewsgroups: rec.org.sca ਀䘀爀漀洀㨀 氀攀椀最栀愀渀渀 愀琀 猀礀戀愀猀攀⸀挀漀洀 ⠀䰀攀椀最栀 䄀渀渀 䠀甀猀猀攀礀⤀ഊSubject: Anglo-Saxon Praise Poem ਀伀爀最愀渀椀稀愀琀椀漀渀㨀 匀礀戀愀猀攀Ⰰ 䤀渀挀⸀ഊDate: Tue, 24 Aug 1993 08:01:53 GMT ਀ഊGreetings to the Rialto from Siobhan! ਀ഊYet another in the sequence of "Articles I want to send to TI". Comments are welcome, especially corrections of my Anglo-Saxon grammar. I'm reasonably sure of the vocabulary, some of the tenses/cases might be off kilter. Expansions welcome ditto -- did I leave something out you'd like to see? Howbout you, Tadhg? I liked your expansion of the rosary thinking, how would you expand this? ਀ഊEmail, post, whatever suits. ਀ഊSlainte! ਀ऀⴀ 匀椀漀戀栀愀渀ഊ ਀䄀一 䄀一䜀䰀伀ⴀ匀䄀堀伀一 倀刀䄀䤀匀䔀 倀伀䔀䴀ഊ ਀䌀漀渀琀攀砀琀ഊ------- ਀ഊThe context of the Anglo-Saxon praise poem is one of oral tradition; news, lore, law, and ethics all were passed on by word of mouth. This passing was usually in poetry rather than prose, for the simple reason that poetry is easier to remember. The values of the Saxon's tribal society were transmitted through verse, sometimes explicitly, sometimes more subtly -- when Beowulf, telling "the folks back home" of his adventures, says ਀ഊ Next day, when we sat down to banquet, the king of the Danes ਀ऀ爀攀眀愀爀搀攀搀 洀攀 最攀渀攀爀漀甀猀氀礀 昀漀爀 琀栀椀猀 攀渀挀漀甀渀琀攀爀 嬀眀椀琀栀 䜀爀攀渀搀攀氀崀Ⰰ 眀椀琀栀ഊ treasures and beaten gold. Songs and junketing followed, and ਀ऀ琀栀攀 瀀愀琀爀椀愀爀挀栀 䠀爀漀琀栀最愀爀Ⰰ 眀栀漀 栀愀搀 愀 最爀攀愀琀 昀甀渀搀 漀昀 猀琀漀爀椀攀猀Ⰰ 琀漀氀搀ഊ anecdotes about bygone times, and every now and then played a ਀ऀ瀀氀攀愀猀愀渀琀 洀攀氀漀搀礀 漀渀 琀栀攀 栀愀爀瀀⸀  一漀眀 愀渀搀 琀栀攀渀 猀漀洀攀 琀爀甀攀 愀渀搀ഊ unhappy ballad was sung; occasionally the king would recount a ਀ऀ挀甀爀椀漀甀猀 氀攀最攀渀搀 椀渀 椀琀猀 挀漀爀爀攀挀琀 昀漀爀洀⸀⸀⸀  ⠀㈀　㘀㐀ⴀ㈀㄀㔀㄀⤀ഊ ਀栀攀 椀猀 椀洀瀀氀礀椀渀最 愀 眀栀漀氀攀 挀漀洀瀀氀攀砀 漀昀 瘀愀氀甀攀猀㨀 椀琀 椀猀 最漀漀搀 琀漀 猀甀瀀瀀漀爀琀 礀漀甀爀 琀栀愀渀攀猀 眀椀琀栀 琀爀攀愀猀甀爀攀 愀渀搀 爀攀眀愀爀搀 瘀愀氀漀爀漀甀猀 愀挀琀猀 眀椀琀栀 洀愀琀攀爀椀愀氀 最漀漀搀猀㬀 椀琀 椀猀 最漀漀搀 昀漀爀 琀栀攀爀攀 琀漀 戀攀 猀漀渀最猀 愀琀 昀攀愀猀琀椀渀最㬀 愀渀搀 攀瘀攀渀Ⰰ 戀礀 愀 氀椀琀琀氀攀 猀琀爀攀琀挀栀Ⰰ 椀琀 椀猀 最漀漀搀 昀漀爀 愀 欀椀渀最 琀漀 戀攀 愀戀氀攀 琀漀 瀀氀愀礀 琀栀攀 栀愀爀瀀 愀渀搀 搀漀 愀 戀椀琀 漀昀 瀀漀攀琀爀礀 漀昀 栀椀猀 漀眀渀⸀ഊ ਀   䴀椀琀挀栀攀氀氀 愀渀搀 刀漀戀椀渀猀漀渀 ⠀䜀甀椀搀攀⤀ 攀砀瀀氀愀椀渀 琀栀攀 攀琀栀椀挀愀氀 猀琀爀甀挀琀甀爀攀 琀漀 眀栀椀挀栀 瀀爀愀椀猀攀 瀀漀攀洀猀 挀漀渀琀爀椀戀甀琀攀搀 愀猀 昀漀氀氀漀眀猀㨀ഊ ਀ऀ⸀⸀⸀氀椀昀攀 眀愀猀 愀 猀琀爀甀最最氀攀 愀最愀椀渀猀琀 椀渀猀甀瀀攀爀愀戀氀攀 漀搀搀猀Ⰰ 愀最愀椀渀猀琀 琀栀攀ഊ inevitable doom decreed by a meaningless fate -- WYRD, which ਀ऀ漀爀椀最椀渀愀氀氀礀 洀攀愀渀琀 眀栀愀琀 栀愀瀀瀀攀渀猀⸀ ⸀⸀⸀ 愀 搀椀昀昀攀爀攀渀琀 欀椀渀搀 漀昀ഊ immortality ... is stressed in their literature. This was LOF, ਀ऀ眀栀椀挀栀 眀愀猀 眀漀渀 戀礀 戀爀愀瘀攀爀礀 椀渀 戀愀琀琀氀攀 愀渀搀 挀漀渀猀椀猀琀攀搀 漀昀 最氀漀爀礀 愀洀漀渀最ഊ men, the praise of those still living. (p. 135) ਀ഊAs long as the poets continued to sing your deeds, though your flesh was dust in the ground, your name lived on. Beowulf itself is an example of the very thing referred to here within it: ਀ഊ Songs were sung in Hrothgar's presence to the accompaniment of ਀ऀ洀甀猀椀挀⸀  吀栀攀 栀愀爀瀀 眀愀猀 猀琀爀甀挀欀Ⰰ 愀渀搀 洀愀渀礀 戀愀氀氀愀搀猀 爀攀挀椀琀攀搀⸀  吀栀攀渀Ⰰഊ by way of entertainment, Hrothgar's poet sang in the hall [a ਀ऀ氀漀渀最 愀渀搀 瘀椀瘀椀搀 猀漀渀最 漀昀 搀攀愀琀栀 愀渀搀 瘀攀渀最攀愀渀挀攀 眀栀椀挀栀 䤀 眀漀渀✀琀ഊ include here]. (1063-1104) ਀ഊThe poet tells of a hero's death, naming him and the members of his family who avenged him -- prompting the memorization of their names and delivering yet another message ubiquitous in old Germanic societies from the mainland to Iceland: it is good to exact revenge on those who kill your relatives. The little quote above also gives some indication of the context in which such poems were delivered: in a mead-hall, in the midst of a feast a very practical time, assuring the largest possible audience. ਀ഊ ਀匀琀爀甀挀琀甀爀攀ഊ--------- ਀ഊAnglo-Saxon poetry is structured around stresses and alliteration rather than the syllable-counting that characterized Latin poetry of the same time. The number of syllables in any given line is less important than the number of stresses; each line consists of two half-lines separated by a caesura (pause), and each half-line contains at least two stresses. One of the two stressed syllables in the first half-line must alliterate with the first stressed syllable in the second half-line. It is common, though not compulsory, that the two stressed syllables in the first half-line also alliterate with each other, however, only the first stressed syllable in the second half-line may alliterate with the first half-line. Each half line must have at least four syllables. ਀ഊAnalysts agree, for the most part, on five types in the half-lines, a system first proposed by Eduard Sievers in the latter parts of the last century: [/ is a stressed alliterated syllable, \ is a stressed unalliterated syllable, - is an unstressed syllable. Unstressed syllables in parentheses are possible additional syllables. Stressed syllables in the Anglo-Saxon examples below are underlined, to aid those unfamiliar with the language.] [note for the ASCII version: dh is edh, th is thorn, ae is aesc.] ਀ഊType A: / - (- - - -) / - called "falling-falling" ਀䄀ⴀ匀 䔀砀愀洀瀀氀攀猀㨀ഊ 1st half-line: ricra is rice ਀                       ⴀⴀ       ⴀⴀഊ 2nd half-line: aedhele and craeftig ਀                       ⴀⴀⴀⴀ        ⴀⴀⴀⴀⴀഊMod-E Example: richer the realm is ਀ഊType B: (- - - -) - / - / called "rising-rising" ਀䄀ⴀ匀 䔀砀愀洀瀀氀攀猀㨀ഊ 1st half-line: he dal ut death ਀                          ⴀⴀⴀ    ⴀⴀⴀⴀⴀഊ 2nd half-line: se dracan thegn ਀                          ⴀⴀⴀⴀ   ⴀⴀⴀⴀⴀഊMod-E Example: the dragon's thane ਀⠀一漀琀攀㨀 琀栀漀甀最栀 椀渀 琀栀椀猀 挀愀猀攀 戀漀琀栀 琀栀攀猀攀 栀愀氀昀ⴀ氀椀渀攀猀 愀爀攀 漀渀 琀栀攀 猀愀洀攀 氀椀渀攀 椀渀 琀栀攀 瀀漀攀洀 愀渀搀 栀愀瘀攀 琀栀攀 猀愀洀攀 猀琀爀攀猀猀 琀礀瀀攀Ⰰ 琀栀椀猀 椀猀 戀礀 渀漀 洀攀愀渀猀 爀攀焀甀椀爀攀搀⸀⤀ഊ ਀吀礀瀀攀 䌀㨀  ⠀ⴀ ⴀ ⴀ ⴀ ⴀ⤀ ⴀ ⼀ ⼀ ⴀ    挀愀氀氀攀搀 ∀挀氀愀猀栀椀渀最∀ഊA-S Examples: ਀ऀ⠀渀漀 攀砀愀洀瀀氀攀 昀漀爀 琀栀攀 昀椀爀猀琀 栀愀氀昀ⴀ氀椀渀攀 椀渀 琀栀椀猀 瀀漀攀洀㬀 昀爀漀洀 吀栀攀 䈀愀琀琀氀攀 漀昀ഊ Maldon(l. 62): Het a bord beran) ਀                             ⴀⴀⴀⴀ ⴀⴀⴀഊ 2nd half-line: and se blaec waelaesc ਀                              ⴀⴀⴀⴀⴀ ⴀⴀⴀⴀഊMod-E Example: in keen conflict ਀ഊType D: / (- - -) / \ - called "falling by stages" or "broken fall" ਀    漀爀   ⼀ ⠀ⴀ⤀ ⼀ ⴀ ⠀ⴀ⤀ 尀ഊA-S Examples: ਀ऀ㄀猀琀 栀愀氀昀ⴀ氀椀渀攀㨀 爀椀栀琀 爀愀攀搀 栀愀昀愀搀栀 ⠀漀爀⤀ 最漀搀 椀猀 猀攀 爀愀攀搀 最漀氀搀ഊ ---- ---- --- --- ---- ---- ਀ऀ㈀渀搀 栀愀氀昀ⴀ氀椀渀攀㨀 挀甀瀀瀀愀渀 渀椀洀愀琀栀 椀渀 栀愀渀搀愀ഊ --- --- ---- ਀䴀漀搀ⴀ䔀 䔀砀愀洀瀀氀攀㨀 最漀漀搀 椀猀 琀栀攀 爀攀搀 最漀氀搀ഊ ਀吀礀瀀攀 䔀㨀  ⼀ 尀 ⴀ ⠀ⴀ⤀ ⼀            挀愀氀氀攀搀 ∀昀愀氀氀 愀渀搀 爀椀猀攀∀ഊ ਀䄀ⴀ匀 䔀砀愀洀瀀氀攀猀㨀ഊ 1st half-line: Middrices man ਀                       ⴀⴀⴀⴀⴀⴀⴀ   ⴀⴀⴀഊ 2nd half-line: stedefaest his gethanc ਀                       ⴀⴀⴀⴀ ⴀⴀⴀⴀ      ⴀⴀⴀⴀⴀⴀⴀഊMod-E Example: Look ye, how he lives ਀ഊOne or two unaccented syllables may appear before a Type A or Type D line, and are not counted in the scansion of the line they are rather like a musical pick-up and are referred to as "anacrucis". ਀ഊOne further note on the ubiquitous HWAET! This word, while having a normal meaning and usage (what), also appears as a general exclamation, much as it continues to appear in upper-crust British English ("Jolly good show, what!") ਀ഊFrom these guidelines, and using the glossaries listed in the bibliography, I composed the following for a recent knighting in the West Kingdom. I did the Modern English first (since it's my first language), being careful to use as few words of Latin derivation as possible -- both because it sounds better in the form, and because I was lazy and had only Anglo-Saxon-to-English glossaries and wanted to make my task easier. Aspiring bards, scops and skalds may find it useful to hunt down the roots of their language, and tune their vocabulary accordingly. Romance-language words work well in recreated trouvere metres; the purely Saxon-rooted words ring more true in poems like this: ਀ഊ ਀吀栀攀 倀漀攀洀ഊ-------- ਀ഊHwaet! Hierath o ic herge, heordhwerod Westerne, ਀䄀䔀氀昀爀攀搀 愀眀攀氀攀爀攀Ⰰ  愀攀搀栀攀氀攀 愀渀搀 挀爀愀攀昀琀椀最 ഊMiddrices man, macode hlisan, ਀戀攀最攀渀 栀愀渀搀愀 戀愀攀爀漀渀   戀愀渀愀 琀漀 昀愀栀渀攀Ⰰഊhe dal ut death, se dracan thegn. ਀䈀攀愀氀搀甀洀 䈀攀漀眀甀氀昀攀 最攀氀椀挀   最攀戀氀攀琀猀漀搀攀 眀礀爀搀攀猀Ⰰഊhwa folgian feohtetir to fame teah, ਀眀攀猀琀眀攀愀爀搀攀猀 眀攀渀搀攀渀搀   琀漀 最攀眀椀渀渀愀渀 洀愀攀爀搀栀ഊon fene under forstmiste ferde thaet AElfred, ਀猀攀挀最爀漀昀 愀渀搀 猀愀渀最最氀愀攀搀Ⰰ  猀琀爀椀甀攀渀搀攀 挀甀渀渀椀愀渀ഊin cene gecampe his craeft and heortan. ਀䔀氀氀攀渀搀愀攀搀愀猀 最攀攀愀爀渀漀搀漀渀   愀攀琀栀攀氀攀猀 眀漀爀搀栀洀礀渀搀攀 ഊTHeah sum him forsgon, stod he swa bysene, ਀栀攀愀栀椀挀最攀渀搀攀 栀愀攀氀攀琀栀Ⰰ  最攀栀攀愀氀搀攀 栀椀猀 最爀甀渀搀⸀ഊLociath hu he lifath to landes welan: ਀爀椀挀爀愀 椀猀 爀椀挀攀   昀漀爀 搀栀愀攀洀 栀爀椀渀最甀洀 栀攀 最椀昀搀栀Ⰰഊscopas songcraeft haniath secende his freogan ਀最漀搀 椀猀 猀攀 爀愀攀搀 最漀氀搀   琀栀攀 最攀最漀渀最愀琀栀 昀爀愀洀 栀椀猀 栀愀渀搀愀⸀ഊSeo bares byrst and se blaec waelaesc ਀愀渀搀 眀椀猀搀愀爀漀搀栀 眀攀愀氀搀攀   琀栀攀 猀攀 眀甀渀搀愀琀栀 栀礀搀愀⸀ഊStrang is his sawol, stedefaest his gethanc, ਀爀椀栀琀 爀愀攀搀 栀愀昀愀琀栀Ⰰ  爀愀搀栀攀 栀攀 最椀昀搀栀 栀椀琀⸀ഊHierath him nu hatte, haerlicost ordsecg, ਀䄀䔀氀昀爀攀搀 攀愀氀甀最礀昀愀Ⰰ  攀挀最眀攀爀 愀渀搀 挀爀愀攀昀琀攀最愀Ⰰഊtreowig tacnsteorra and triewe hererinc. ਀䌀礀琀栀琀栀 愀渀搀 挀攀漀爀氀愀猀Ⰰ  挀甀瀀瀀愀渀 渀椀洀愀琀栀 椀渀 栀愀渀搀愀 ഊSaeliath him stidhlice, min spell is gedon. ਀ഊ ਀䠀攀愀爀 愀猀 䤀 栀愀椀氀 栀椀洀Ⰰ  栀漀猀琀猀 漀昀 琀栀攀 圀攀猀琀ⰀഊAlfred awl-wielder, artful and princely -- ਀洀愀渀 漀昀 琀栀攀 䴀椀搀爀攀愀氀洀Ⰰ  洀愀搀攀 栀椀洀 爀攀欀渀漀眀渀Ⰰഊboth hands bearing bane to his foes, ਀栀攀 搀攀愀氀琀 漀甀琀 搀攀愀琀栀Ⰰ  琀栀攀 搀爀愀最漀渀✀猀 琀栀愀渀攀⸀ഊLike bold Beowulf, blessed of fortune, ਀眀栀漀 琀漀 昀漀氀氀漀眀 昀愀洀攀   琀漀 琀栀攀 昀漀愀洀 琀漀漀欀 栀椀洀Ⰰഊwestward wending to win a name ਀漀渀 昀攀渀 甀渀搀攀爀 昀漀最   昀愀爀攀搀 琀栀愀琀 䄀氀昀爀攀搀 ⴀⴀഊsword-edged and song-glad, striving to prove ਀椀渀 欀攀攀渀 挀漀渀昀氀椀挀琀   栀椀猀 挀爀愀昀琀 愀渀搀 栀攀愀爀琀⸀ഊAble acts earned him honor as a prince -- ਀琀栀漀甀最栀 猀漀洀攀 猀挀漀爀渀攀搀 栀椀洀Ⰰ  栀攀 猀琀漀漀搀 愀猀 攀砀愀洀瀀氀攀㬀ഊhigh-minded hero, he held his ground. ਀䰀漀漀欀 礀攀Ⰰ 栀漀眀 栀攀 氀椀瘀攀猀   琀漀 琀栀攀 氀愀渀搀猀 眀攀氀昀愀爀攀㨀ഊricher the realm is for the rings he gives, ਀猀挀漀瀀猀 栀漀渀攀 琀栀攀椀爀 猀欀椀氀氀猀Ⰰ  猀攀攀欀椀渀最 栀椀猀 昀愀瘀漀爀 ⴀⴀഊgood is the red gold they get from his hand. ਀吀栀攀 戀漀愀爀✀猀 戀爀椀猀琀氀攀   愀渀搀 琀栀攀 戀氀愀挀欀 眀愀爀ⴀ愀猀栀ഊand the wise dart he wields, that wounds the hide. ਀匀琀爀漀渀最 椀猀 栀椀猀 猀瀀椀爀椀琀Ⰰ  猀琀攀愀搀昀愀猀琀 栀椀猀 瀀甀爀瀀漀猀攀Ⰰഊright rede he has, ready to give it. ਀䠀攀愀爀 栀椀洀 渀漀眀 栀椀最栀琀Ⰰ  栀攀爀漀 洀漀猀琀 渀漀戀氀攀ⰀഊAlfred alegiver, armsman and craftman, ਀琀爀甀猀琀礀 琀漀欀攀渀ⴀ猀琀愀爀   愀渀搀 琀爀甀攀 欀渀椀最栀琀⸀ഊKinsfolk and carls, take cups in hand ਀猀欀漀愀氀 栀椀洀 渀漀眀 猀琀漀甀琀氀礀Ⰰ  昀漀爀 洀礀 猀瀀攀攀挀栀 椀猀 搀漀渀攀⸀ഊ ਀䴀愀礀Ⰰ ㄀㤀㤀㌀ഊ ਀䈀椀戀氀椀漀最爀愀瀀栀礀ഊ------------ ਀ഊBarney, Stephen A., et al. Word-Hoard: An Introduction to Old English ਀    嘀漀挀愀戀甀氀愀爀礀⸀  一攀眀 䠀愀瘀攀渀㨀 夀愀氀攀 唀渀椀瘀攀爀猀椀琀礀 倀爀攀猀猀Ⰰ ㄀㤀㜀㜀⸀ഊCable, Thomas. The Meter and Melody of Beowulf. Urbana: University of ਀    䤀氀氀椀渀漀椀猀 倀爀攀猀猀Ⰰ ㄀㤀㜀㐀⸀ഊHulbert, James, ed. Bright's Anglo Saxon Reader. NY: Holt, Rinehart & ਀    圀椀渀猀琀漀渀Ⰰ ㄀㤀㘀㘀 ⠀伀爀椀最⸀ 愀甀琀栀漀爀 䨀愀洀攀猀 圀⸀ 䈀爀椀最栀琀Ⰰ 昀椀爀猀琀 瀀甀戀氀椀猀栀攀搀 ㄀㤀㄀㜀⤀ഊMitchell, Bruce, and Fred C. Robinson. A Guide to Old English, 5th ਀    攀搀⸀  伀砀昀漀爀搀㨀 䈀氀愀挀欀眀攀氀氀 倀甀戀氀椀猀栀攀爀猀Ⰰ ㄀㤀㤀㈀ 嬀㄀㤀㘀㐀崀⸀ഊWright, David, trans. Beowulf. Baltimore: Penguin Books, 1973 [1957]. ਀ഊ ਀䔀搀椀琀攀搀 戀礀 䴀愀爀欀 匀⸀ 䠀愀爀爀椀猀ऀ䄀匀ⴀ倀爀愀猀攀ⴀ倀漀攀洀ⴀ愀爀琀ऀ倀愀最攀 㔀 漀昀 㘀ഊ ਊ