Download Anglo-Saxon Chronicle 5: MS C by Katherine O'Brien O'Keeffe PDF

By Katherine O'Brien O'Keeffe

This quantity offers a semi-diplomatic variation of the textual content of MS C (London, British Library Cotton, Tiberius B.i). frequently known as `the Abingdon Chronicle', it was once considerably copied within the mid-eleventh century and persevered to be so sporadically thereafter; the complement to its abrupt finishing via a twelfth-century reader means that it was once nonetheless of curiosity within the interval after the Conquest. The C-text is a crucial resource of data for the reign of Edward the Confessor, and it brings a distinct political viewpoint to the ascendency of Godwine and his sons.The conventional organization of the textual content, manuscript or either with the reformed monastery of Abingdon has been a big function of the present knowing of the interrelationships one of the numerous texts of the Anglo-Saxon Chronicle. the current version examines a few of the arguments for associating the C-text with Abingdon and the problems inherent in those arguments. It brings to endure facts from the palaeography and codicology of the manuscript in addition to textual content old and linguistic proof. The creation to the textual content considers different strands composing the C-text, and the shut relationships of this article to MSS B, D, and E, and the amount is finished with indices of individuals, peoples and areas.

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The extremest case of this kind is the relationship between Car’line Aspent and Mop Ollamoor in ‘The Fiddler of the Reels’. Mop, who can maliciously reduce children to tears by his playing, fascinates Car’line to the point of abjection. His playing makes her laugh and weep simultaneously. It has the power of ‘projecting through her nerves excruciating spasms, a sort of blissful torture’ (Complete Stories, 471) and eventually inducing convulsions. At one stage in their relationship even the sound of his footfall, by association, can make her ‘start from her seat in the chimney-corner as if she had received a galvanic shock, and spring convulsively towards the ceiling’ (462).

228) A startling quiet overhung all surrounding things – so completely, that the crunching of the waggon-wheels was as a great noise, and small rustles, which had never obtained a hearing except by night, were distinctly individualised. (292) What do such passages show? Most obviously that Hardy was exceptional, even among Victorian novelists, for the intensity with which he could imagine a scene, whether an indoor or an outdoor one, having it as vividly present to his ears as to his eyes. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-17 Hardy’s descriptions of isolated sounds are typically more emphatic and exact.

The mood of the occasion, ‘this overpowering of the fervid by the inanimate’, is sufficiently marked and distinctive for Hardy to recall it a hundred pages later (328), when Clym returns from Susan Nunsuch’s cottage to make his accusations against Eustacia. On her ill-fated visit to her married son Mrs Yeobright pauses to watch, like Manston, ‘ephemerons … in mad carousal’: some in the air, some on the hot ground and vegetation, some in the tepid and stringy water of a nearly dried pool. All the shallower ponds had decreased to a vaporous mud, amid which the maggoty shapes of innumerable obscene creatures could be indistinctly seen, heaving and wallowing with enjoyment.

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