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The Pearl Of Corruption (Chronicles of Aricin #2)
Philadelphia: University of Pennsylvania Press, McKisack, May. The Fourteenth Century. Oakley, Francis. Ithaca: Cornell University Press, Oman, Charles. The Great Revolt of Ormond, William Mark. Pearsall, Derek A.
Oxford and Cambridge, Mass. Saul, Nigel. Richard II. Scattergood, V. Scattergood and J. New York: St. Senior, Michael. London: Weidenfeld and Nicolson, Strohm, Paul. Princeton: Princeton UP, Taylor, Andrew.
Thomas, Alfred. Ithaca and London: Cornell University Press, Tuchman, Barbara. New York: Knopf, Tuck, Anthony. Wallace, David J. Wallace, David. Lee Patterson. Berkeley: University of California Press, The Chronica Maiora of Thomas Walsingham, David Preest. Warner, Marina. The Westminster Chronicle Hector and Barbara F. This fact makes the case of the Pearl poet rather unusual, in that there are at least four extant poems popularly attributed to a single, nameless writer.
There are a number of reasons for placing the authorship of the Cotton Nero manuscript, that is, the poems Pearl, Patience, Cleanness and Sir Gawain and the Green Knight, under a singular entity; there is still considerable debate, however, over whether or not the same poet also wrote Saint Erkenwald, from the Harley library collection. It must be remembered that all knowledge of the Pearl poet is informed and synthesized from the manuscripts themselves. What can and cannot be proved from this form of inference is extensively disputed.
There will be no attempt here to make an argument for or against any specific theory regarding an actual historical figure as the Pearl poet; instead, only details which illuminate the unique mind and style of the poet will be considered. A return to the dialect, language, narrative structures and themes of the primary manuscripts will suggest that all of the evidence leading to common authorship theories between MS Cotton Nero A.
Scrutinizing the parallel constructions of the poems from the Cotton library and then comparing the manuscript of Saint Erkenwald to an overall picture of the internal composition of those four poems and the style of their author, who is definitely the Pearl poet, will prove that there is little evidence on which to base this theory of common authorship. To begin looking at the Cotton Nero poems, a reassessment of the rationale for the attribution of the four poems from the Cotton library to a single hand will be useful.
Several scholars also note that while the text may be one of the best instances of alliterative poetry during the fourteenth century, the actual manuscript itself is not overly impressive. The titles to each work are not formally present above the poems themselves; instead, they have been assigned to each poem by modern editors. The script is described by several scholars in the same way: it is a small, sharp style of handwriting.
Andrew and Waldron ultimately conclude, with much other supporting evidence, that the artist probably had little or no familiarity with the works themselves, and was probably working from instructions 4.
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This theory is supported by the fact that the illustrations all occupy one whole page, with the exception of a half-page illustration in Patience, and that they all precede or follow the poems, instead of appearing on the same page with the work. It is also possible that the drawings could have been added as late as the fifteenth century Andrews and Waldron 3. Paleographers, after studying the text, have come to the conclusion that it is not possible the manuscript was composed later than Tolkien xxv. One important physical indication of the age of the manuscript itself is that the motto of the Order of the Garter appears on the bottom of the last page of Sir Gawain f.
This mark could signify the earliest date for the manuscript as , when the order was founded, though it is possible that it may have been added later Andrews and Waldron A second place where scholars have located concrete evidence about the poet himself, along with a more specific point in time for his works, is the dialect of his writings.
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Scribes have been known to change words slightly in accordance with their own habits and preferences, so all that can be definitely ascertained from this information is that the scribe who originally wrote this manuscript copied it in the dialect of this area of England. More recent studies of the rhyming and alliterative words of the poems, where the scribe would have had little capacity to change the words without significantly affecting the work, have shown that the person who actually composed the poem may have been from a place slightly more southerly than the scribe Andrews and Waldron 2 ; researchers also note that this evidence may only prove where the poet was raised.
Additionally, there is a distinct possibility that he simply moved to another location before he wrote the poem 7. More recently, the belief that it may have been written by a poet from the west midlands who later inhabited London has become more prevalent Andrews and Waldron 8. Writing and spelling during this period did follow many conventions but, in general, the spelling of many words was still in flux and certain phonemes had no distinct spelling; these problems were largely left to the habits and tastes of the scribes who were copying the work.
Many case-endings in these poems seem to have little regard, in spelling, for their colloquial partners. Another possibility is that the author may have simply borrowed words from extraneous dialectic areas in order to sustain the complex rhyming and alliterative form of the poems Putter and Stokes A considerable amount of other evidence points to the fact that this manuscript could have been written sometime near the end of the fourteenth century.
Most of this material is centered upon internal evidence, namely the descriptions of castles, costumes, furnishings and armor. Early in the last century, there was believed to be significant proof that there are words which are present only in the manuscripts of the Pearl poet's works; to many scholars, even contemporary ones, these words and expressions seem to prove that these works were obviously the work of a single poet. Recently, researching on Middle English poems has greatly affected these grounds in the eyes of many critics.
This deterioration of evidence leaves the once definite proof of shared phrases and vocabulary now completely groundless and, therefore, unconvincing. This mutual history is the form of criterion needed in order for internal evidence to be justifiably used in establishing common authorship; because of the shared origins of the Cotton Nero poems, it is one of the few instances in which stylistic verification is almost universally accepted as worthwhile corroboration to the theory.
Casey Finch introduces some important technical details of the poet's style of writing which could suggest a large number of distinct features of the Pearl poet. This is a singular characteristic that any reader of Middle English literature cannot help but notice of the Pearl poet: his use of detail gives his works the quality of cinema.
The last notably important facet of the Cotton Nero poems is the structure of their respective narratives. Cleanness and Patience are homilies, while Sir Gawain is an Arthurian Romance, and Pearl is an elegy in the form of a dream-vision. Though Patience, Cleanness and Sir Gawain are all alliterative, Sir Gawain is divided into stanzas while the others are not, though they, without exception, fall into groups of four Tolkien xxii. Each of the poems, with the exception of Cleanness, ends with lines that echo its beginning. To further complicate the poems, Pearl and Sir Gawain both contain several different forms of number symbolism throughout the body of the poem; in Sir Gawain the number five is extremely important, while in Pearl it is the number twelve.
Everett 68 Thus, even with all of the other information regarding the composition of the four poems, the most convincing argument still remains the fact that all of the poems were found in the same manuscript and were written by the same scribe, at the same time, in the same dialect. All of this data about the Pearl poet constructs a picture of the author himself. Because it has been established that all four of the Cotton Nero poems are indeed the work of the Pearl poet, it is apparent that the author has an incredible flexibility in the topics he could write about, and his considerable elegance shows his skill in structuring the narrative of a story.
The Pearl Of Corruption (Chronicles of Aricin #2) by Stephen Ford
The poet was distinctive in his dialect, word choice and paraphrases, expansive detail, cinematographic style, and narrative structuring. If the manuscript from the Harley library is considered in these terms, it should be obvious whether or not these poems share enough internal and external characteristics to base a common authorship theory upon. While the rest of the Pearl poet's works survived in a single manuscript and were found bound together in the Cotton library, the manuscript of Saint Erkenwald is part of a larger collection from the Harley library.
Andrew and Waldron point out that there are only two pieces of evidence which still continue to support the arguments of those who advance the theory that Saint Erkenwald was written by the Pearl poet: its date, and its dialect. The manuscript itself is dated by the scribe, though there are many authorities who cite dialectical evidence that could point to a much earlier date of composition around the year Peterson This date would place the poem concurrent with a date in which the Pearl poet would have lived.