I have a new essay on David Perry’s blog, How Did We Get into This Mess?, called “What Is Education For? – To Kill a Mockingbird and Medieval Literature.” It’s about Biloxi School District’s decision last month to ban (then partially unban) To Kill a Mockingbird.
My note, “A Postdating of Throw ‘Time’ in Twelfth Night,” appears in Notes & Queries. It’s expected to be published in fall 2016. This note identifies the latest known instance of throw in the sense ‘time,’ in Shakespeare’s early seventeenth-century play. I teach Twelfth Night in Literature Core, and I noticed that editors of the play do not consistently catch Orsino’s pun on the word throw in Act 5. This prompted me to consult the Oxford English Dictionary, where throw ‘time’ was said to have disappeared in the early sixteenth century. Here’s an abbreviated version of the opening paragraph of the note:
In the final act of Shakespeare’s Twelfth Night (1600-01), Duke Orsino rebuffs Feste’s third request for payment: ‘You can fool no more money out of me at this throw’ (V.i.32). The primary meaning of throw is ‘time’, from Old English þrag ‘time; season’. The secondary meaning is ‘throw (of the dice)’, playing on Feste’s dice metaphor (‘Primo, secundo, tertio is a good play’, V.i.29). This occurrence of throw ‘time’ postdates by almost a century the last citation for that meaning at Oxford English Dictionary Online, ‘throw, n.1’, 1 (‘The time at which anything happens; an occasion’), from Gavin Douglas’s Eneados (1513).
My article, “Before Prosody: Early English Poetics in Practice and Theory,” appears in Modern Language Quarterly. This article draws on the methods and arguments of my first book to reconsider the historical study of poetics in general. Specifically, the essay makes a medievalist contribution to the emerging subfield known as ‘historical poetics.’ I workshopped an earlier version of this essay while visiting Stanford University. Here’s the abstract:
Since the sixteenth century, the history of English poetics has had two sides: a history of theory and a history of practice. Contemporary literary scholars are mapping new connections between the history of theory and the history of practice, under the rubric of “historical poetics.” Thus far historical poetics has been most strongly associated with the study of nineteenth-century poetry. This essay takes a longer view onto the histories of English poetry from the perspective of early English verse. Medieval English poets practiced literary form at a time when vernacular poetics had not yet become an academic subject or a sustained cultural discourse. This essay offers medieval English poetry as a case in point for historical poetics, thereby bringing a different literary archive to bear on methodological debates about the historical study of poetics. Three case studies, centered on alliterative verse, explore what is distinctive about the cultural work of early English poetics.
My bibliography “Alliterative Verse” appears in the digital Oxford Bibliographies in British and Irish Literature, edited by Andrew Hadfield. These bibliographies consist of citations of key scholarly works, accompanied by annotations and related to one another by commentary paragraphs. Here’s the introductory paragraph of my bibliography:
Alliterative verse refers to a corpus of approximately three hundred unrhymed English poems, spanning the period c. 650–1550 CE. Before the 12th century, there was only one way to write poetry in English. This verse form, known to modern scholars as alliterative Meter, stood in contrast to English prose, on the one hand, and syllabic Latin meters, on the other. From the late 12th century onward, French- and Latin-inspired syllabic English meters were introduced, throwing alliterative meter into relief in a new way. From the 14th century onward, poets also wrote poems combining alliterative metrical structures with stanzaic rhyme patterning, and these poems are traditionally grouped together with the unrhymed corpus. Sometime in the middle of the 16th Century, alliterative verse ceased to function as a metrical option in English literary culture. Whether found in large poetic anthologies or scattered among other kinds of writing, most alliterative poems exist in only one or two Manuscripts. The alliterative corpus comprehends an array of Genres, from brief monologues and riddles to lengthy narratives. Four long poems—Beowulf, Lawman’s Brut, Piers Plowman (see also the Oxford Bibliographies in British and Irish Literature entry titled “Piers Plowman”), and Sir Gawain and the Green Knight [see also the Oxford Bibliographies in British and Irish Literature entry titled “Sir Gawain and the Green Knight”)—have attracted the most critical attention since the rediscovery of alliterative verse in the 17th Century and the 18th Century. Since the 19th Century, study of this poetic tradition has been subdivided along political-historical lines, with the surviving corpus segmented into Old English poetry and Middle English alliterative poetry to reflect the importance of the Norman Conquest of England (1066). Yet, scholars on both sides of the Old/Middle divide have pursued similar research questions in areas such as metrics and poetics, manuscript studies, and genre studies. Modern poets, especially in the 20th Century, have turned to alliterative verse for formal and thematic inspiration.
I’ve organized a panel for MLA 2016 (Austin), entitled “English Metrical Cultures before 1800.” The panel has now been selected for inclusion in the conference. The panel will feature papers from Ian Cornelius, Megan Cook, and Joshua Swidzinski. Here I reproduce the opening and closing of the rationale for the session:
Yopie Prins, Meredith Martin, and other scholars have called for a ‘historical poetics’ that would reevaluate the received narrative of English literary history by recovering alternate ways of theorizing and experiencing poetic form. In her award-winning Rise and Fall of Meter, Martin argues that meter mattered in late nineteenth- and early twentieth-century English culture, and in ways that were strategically obscured by later polemicists and practitioners. The emergent field of historical poetics, conceptualized as the study of the reciprocal relationship between meters and cultures, represents an exciting new way of synthesizing formalism and historicism in the study of English literature.
Thus far, historical poetics has been most strongly associated with the study of nineteenth-century British poetry. This panel proposes to take a longer view onto the histories of English poetry, in order to explore continuities and change in English metrical cultures over time. The panel features one paper from each of the periods of English literary history before 1800: medieval, early modern, and the eighteenth century. While the panel has a wide chronological range (c. 1000-1800), the three papers cohere in their close focus on specific feedback loops between English meters and English cultures. Even more specifically, each of the essays situates ‘English’ ‘metrical’ cultures in a reciprocal relationship with non-English and/or non-metrical cultural forms. Each of the papers articulates a historically specific answer to the chiastic question: How do meters form cultures, and how do cultures form meters? Through its large chronological sweep and narrow thematic focus, this panel promises to bring together attendees addressing similar research questions in disparate periods of literary history.
Together, these three papers will expand the chronological frame of historical poetics and demonstrate the dynamism of meter as a culturally significant practice in English literary history. In particular, they will present three historical case studies of the way in which English metrical cultures emerge from cultural formations not traditionally associated with English meter as such. Austin, Texas, would be a particularly appropriate venue for this panel, since the English Department of the University of Texas at Austin currently employs or has employed several distinguished specialists in pre-1800 English prosody and poetics (Mary Blockley, Thomas Cable, Winfred Lehmann, and Lisa Moore).