I appear in season 1, episode 10 of the Vox/Netflix series Explained, explaining humanism and reading Beowulf aloud. My contribution to the video is based on my 2012 essay on exclamation points in modern editions of Beowulf.
My note, “Saint Kenelm in an Imaginative Illustration,” appears in Notes & Queries. The note concerns a twelfth-century illustration of Kenelm, also featured on the cover of my first book. Here’s the opening:
Oxford, Bodleian Library, MS Douce 368 (mid or late twelfth c.) contains one of eight complete surviving copies of the Vita et miracula Sancti Kenelmi (1066–1075). The Vita is the earliest substantial account of the career of Kenelm, whose story would go on to feature in the South English Legendary and later English and Anglo-Latin texts. The narrative recounts Kenelm’s premonitory vision, decapitation, surreptitious burial, and posthumous rediscovery. In the climactic scene, the location of the saint’s murdered body is divulged to the pope in Rome by a dove carrying in its beak ‘a snow-white parchment inscribed with golden letters in English’ (‘niueam menbranam aureis litteris anglice inscriptam’, §10). In Douce 368 and other early manuscripts of the Vita, the English inscription is reported as a rhyming Latin couplet. However, three thirteenth- and fourteenth-century manuscripts gloss the passage with an English alliterative couplet: ‘In Klent Koubeche | Kenelm kunebearn/ liy under yorne | heaved bereved’ (‘In Clent Cow-valley, Kenelm the royal scion lies under a thorn-bush, decapitated’). The English alliterative couplet survives elsewhere in a free-standing late twelfth-century copy. An early eleventh-century application of the epithet cynebearn to Kenelm suggests that the alliterative poem predates the Vita. Like Cædmon’s Hymn, another miraculous English poetic utterance, the alliterative snippet on Kenelm seems to have moved from memory (in the earliest manuscripts) to the margins (in later manuscripts) and finally to the main text (in later redactions of the legend).
The Douce 368 text of the Vita opens on folio 80r with a historiated initial D depicting a resplendent Kenelm crowned and enthroned, a globus cruciger in one hand and a lily in the other. A dove with wings spread and beak open occupies the upper right corner of the illustration, over Kenelm’s shoulder. To the extent that they take notice of such details, scholars offer contradictory interpretations of the function of the dove. A note in a modern hand in the manuscript describes ‘the dove bringing the narrative of his murder’, evidently mistaking Kenelm for the Pope. F. W. Potto Hicks remarks only that ‘the dove refers to the legend of the letter announcing his death being carried to Rome’. Miriam Gill offers, ‘a bird to the right of his head must refer either to his premonitionary dream or to the dove which brought the news of his death to the Pope’. Rosalind Love, in a thorough description of the manuscript, has Kenelm ‘attended by a bird bearing something in its beak—perhaps the letter delivered to the pope in Rome’. Judith Collard sees the dove ‘touching his crown’.
Each of these interpretations captures a partial truth, but I see a possibility to improve on them by more closely connecting the illustration to the narrative of the Vita and by allowing the illustrator more artistic license. […]
My note, “An Oxymoron in Beowulf,” appears in ANQ: A Quarterly Journal of Short Articles, Notes and Reviews. This note identifies an oxymoron in the description of Beowulf’s final showdown with the dragon. Here’s the text of the passage in question and the opening frame of the note:
ðær he þy fyrste forman dogore
wealdan moste swa him wyrd ne gescraf
hreð æt hilde
In commentary on this difficult passage, scholars have focused on the syntactical function of the two ambiguous adverb/conjunctions ðær “there; where” and swa “thus; as” and the two adverbial phrases þy fyrste “on that occasion” and forman dogore “for/on the first day/time.” In order to make sense of the passage, many critics give ðær the uncommon meaning “if,” and some construe swa as introducing a relative clause, a difficult interpretation that lacks clear support elsewhere in the corpus. Some scholars also take forman dogore instrumentally with wealdan, thereby spoiling the evident syntactical parallelism between þy fyrste and forman dogore.
Yet the primary difficulty is surely that wealdan means just the opposite of what narrative context seems to require here: “rule,” not “succumb.” […]