The Return of Anglo-Saxon Aloud: The Prose

Turns out that I miss recording and re-recording and re-re-recording bits of Old English every morning. So I am back to posting daily podcasts of Old English at Anglo-Saxon Aloud.

I had originally planned on starting with the Anglo-Saxon Chronicle, and I'm sure I will eventually do that text, but I ended up deciding to go with the Homilies of Wulfstan. I am going to work through these in order, using Dorothy Bethurum's edition.

The first post, Wulstan homily Ib "De Anticristo" (I'm skipping the Latin homilies, as no one wants to hear me read Latin), is up here

Google Books: Actually Useful

I've been finishing up my revised edition of Tolkien's Beowulf and the Critics and have cleaning up the section where I identify of all the "voices" in Tolkien's "Babel of Voices," where he presents the history of Beowulf criticism.

In doing all the necessary but tedious i-dotting and t-crossing, I've found Google Books to be remarkably helpful for nineteenth-century Beowulf scholarship. They have full text of a lot of important but hard-to-find books (hard to find because Interlibrary Loan isn't often willing to send books published in 1840), and the interface and mark-up is much better than I remember it being.

I'm still not a fan of Google Scholar, which seems incredibly random in its selection of material, but Google Books seems to be not only a copyright grab but also a useful resource.

Another Boynton Forgery!
Editorial Hypercorrection in the "Cavort" Recension of But Not the Hippopotamus

Earlier this year I announced the blockbuster news that Hippos Go Berserk by Sandra Boynton was likely a forgery by a later author who was attempting to imitate Boynton the Great. I can now show that the forger of Hippos Go Berserk, or Pseudo-Boynton, was at work elsewhere as well.


I recently purchased a copy of But Not the Hippopotamus at the Blue Bunny bookstore in Dedham, Mass. In this copy I found the following opening lines:

A Hog and Frog
cavort in a bog.
But not the Hippopotamus.

Something did not seem right, so I consulted my personal copy of But Not the Hippopotamus. Sure enough, the opening lines are:

A Hog and a Frog
do a dance in a bog.
But not the Hippopotamus.

This variation, "cavort" for "do a dance" is an editorial hyper-correction, probably based on an attempt to force Boynton the Great's artistically flawless meter into a straightjacket of perfect regularity.

Note that in the original version, "do a dance" is a straightforward anapest. I scan the lines as:

a HOG and a FROG (iamb plus anapest)
do a DANCE in a BOG (two anapests)

Pseudo-Boynton forces both lines to be iambs followed by anapests, but examination of the rest of the poem shows that Boynton only once uses the 2 / 3 pattern in the line:

a HARE and a BEAR (iamb anapest)
have BEEN to a FAIR (iamb anapest)

In the other two stanzas we see:

are TRYing on HATS

and

toGETHer have JUICE

These two parallels, "are TRYing" and "toGETHer" are amphibrachs, also three-syllable feet. So there is no need to assume that the iamb in the fourth stanza needs to be followed slavishly by forcing a two-syllable foot ("cavort") into the first stanza.

From this analysis of the forgery, we can conclude that Pseudo-Boynton is a highly trained scholar, but one for whom Boynton's brilliant verse is not a native idiom. We can also note that as well as lacking Boynton the Great's attention to detail (in that Pseudo-Boynton forgets to deal with the six distressed hippos who have never left in his/her version of Hippos Go Berserk), Pseudo-Boynton has a predilection for hippos. Scholars should thus re-examine the Boynton corpus to determine which other texts may have been interfered with by Pseudo-Boynton, looking for editorial hypercorrection, subtle contradictions, and hippos.

And the "Cavort" Recension of But Not the Hippopotamus must be athetized from the corpus.

"Clash of the Gods" on the History Channel

UPDATE: More stuff here.

Back in December and January I did some work for the series that is going to be on the History Channel. Today they sent me the tentative air dates (and a nice basket of English muffins!):

Clash of the Gods
Airing on The History Channel at 10:00pm

Zeus 8/3
Hercules 8/10
Odyssey(1) 8/17
Odyssey(2) 8/24
Hades 8/31
Medusa 9/7
Thor 9/14
Lord of the Rings 9/21
Minotaur 9/28
Beowulf 10/5

I am in the Thor, The Lord of the Rings and Beowulf episodes.

I'm hoping that they did what they said they would do in the Thor episode, and that my narration of "Thor and Hymir Go Fishing" includes a cgi Thor fighting a cgi Midgard Serpent.

Time-wasting and Productivity

I'm somewhat hopeful that the dead silence here and at Anglo-Saxon Aloud is coming to an end. I'm slowly but steadily extricating myself from the gigantic backlog of work and deadlines caused by:

1) the economic crisis causing me to have to spend inordinate amounts of time with spreadsheets, budgets, etc. as well having to reshuffle and reschedule the department's course offerings three times;

2) the unexpected good news that I need to do a new edition of Beowulf and the Critics;

3) my ill-considered decision to assistant-coach two different youth baseball teams (although this is incredibly fun, and I will do it again next year, it has been a huge un-budgeted time-committment);

Before those three things happened I was already scheduled to the hilt, but I would have made all the deadlines, etc. Once number 1 hit, I pretty much had to run as fast as I could to stay in place.

So having finally worked out from under most of my administrative responsibilities (annual reviews, etc.), in the past couple weeks I was able to turn my attention to real work, and it's amazing what you can get accomplished when you have a break from 40-75 emails per day, paperwork and meetings (Oh, how I hate meetings).

In a little more than two weeks I was able to:

Turn my paper from the Bergen conference into a real essay for a forthcoming book. The essay is “‘I am Large, I contain Multitudes’: The Medieval Author in Memetic Terms.”

Do revisions and complete proofing of the course book for the latest course from Recorded Books, The Anglo-Saxon World, which should be out very soon.

Finish identifying all of the "voices" in Tolkien's "Babel of Voices" in "Beowulf: The Monsters and the Critics."

Write the first large article to come out of our lexomics research: "Lexomic Methods for Analyzing Relationships Among Old English Poems." (it still needs some revisions, but I think we will ship it off to a journal at the end of next week).

Although a couple of those things were "finish," that was a lot of work to get done in a little more than two weeks when I also wrote three annual evaluations. But it as basically easy, because my time wasn't being fragmented by useless meetings and incessant email. Think of how productive we could be if we could find ways to skip all that crap.

Thus you should not expect to see me writing reports or going to meetings. I am now on a crap-skipping crusade.

Drout Bingo

More amusement from my students. This time it wasn't given to me, just left behind in the classroom. Hint to students: if you want to keep something secret from your prof, don't leave a pile of copies in the classroom.



I can't tell if this was ever actually done (though I imagine that it was), but students constructed their own boards by choosing from a list of words:
Tolkien, Beowulf, Medieval, Anglo-Saxon, Philology, Poetry, Scribe, Drunk, Battle, Monster, Myth, Revenge, Killing, Grendel, Lord of the Rings, Thane, Warrior, Unicorn, Rainbow, Syphilis, Knight, Nun, Mead, Thor, Egil, Sheep, Killer Bjarni, Jane Austen, New Jersey, Axe, Epic, Death, Virgin Mary, Armor, Sword.

Things Professor Drout Said: Spring 2009 edition

(Apparently this is becoming a tradition. The following appeared anonymously in my mailbox).


Sheep DNA from manuscripts = CSI: Beowulf.

A librarian's goal in life is to not let people touch the materials.

'Cataloguey' -- I don't know if that is a word, but I'm going to use it.

(on theories of authorship): So theory will help you decide who's responsible for the awesomeness of Star Wars... and the crapitude of Jar Jar Binks.

I haven't mentioned J.R.R. Tolkien yet in this whole class, and that's just not acceptable.

So there was this bus full of drunken Anglo-Saxonists...

Scyld overturns the mead benches. Yes, he's fearsome because he re-arranged furniture.

I do have a life ... sometimes ... Maybe I was playing Lord of the Rings online and forgot to check my email...

Is New Jersey its own ethnic group?

(on Beowulf's lack of children)
I think the perfect phrase would be "epic fail."

Grendel couldn't pay wergild. My theory? No pockets.

(on Beowulf's sword)
It's a sword! It's pointy! Like a penis! And when it fails ... I don't really know what that means or when the other sword melts...

(on Icelandic sagas)
People don't worry too much about the existential meaning of life when at any moment someone might show up at their door with an axe.

His name means "Killer Barney" and all I can think of is the purple dinosaur.

"I love you, you love me. I slaughtered some members of my family..."

Imagine how well class would go if my name was "Killer Drout."

Where's the last severed head you had in a Jane Austen novel?

(On Egil Skallagrimsson)
He's a huge, snarling, murdering freak, and everyone wants him as their ancestor.

If I live in tenth-century Iceland, I don't want to go into Egil Skallagrimsson's bed closet for any reason whatsoever.

So I mixed up my 80's hair bands ... oh God, how horrible!

(on Gawain and his shield)
"So as I'm hacking someone's arm off and making him bleed to death, I can gaze at the Virgin Mary and it makes me feel better."

Everyone has a favorite Mayan god and Tlaloc is mine.

The first circle is the good part of Hell, with nice condos.

(on the problems with the rain in the upper circles and the rain of fire in the seventh circle)
It's a vision of Hell. I don't have to explain the meteorology!

Let's play "Name that heresy!"

Then the vikings realized "Hey! We can just go over to England and take their stuff."

Newton would boil mercury for a while, go insane, be dragged back to London and then invent physics.

Word of advice: Never build torture devices for evil tyrants. Ever.

Think of the barrators as being in a fondue pot of pitch.

Look! I made it to one minute before the end of class ... J.R.R. Tolkien!

Lexomics at Kalamazoo

Do you like to count things? If so, the website our research group (me; Mark LeBlanc, prof. of computer science; Mike Kahn, prof. of statistics; and our students) is unveiling at Kalamazoo might be useful to you.

The on-line tools we have put up at http://lexomics.wheatoncollege.edu help researchers examine Anglo-Saxon texts in terms of patterns of words. For example, if you would like to list all the words in The Gifts of Men in order of frequency, you can. If you'd like to see what were Wulfstan's favorite words, you can. If you want to know how many words there are in the entire Anglo-Saxon corpus, and which are most common, you can find out.

Not only can you count words in any text, but you can create "virtual manuscripts" that combine separate texts into one file for counting purposes. So if you'd like to determine the most common--or the rarest-- words in the Beowulf manuscript (not just the poem Beowulf), you now can. Want to see which words appear once and only once (or twice and only twice) in Cotton Tiberius A.iii.? Easy!

And each of the words you might countis linked to a concordance search in the Dictionary of Old English. So if you discover that meahtum appears only twice in the Beowulf manuscript, you can then click on it and, provided you have electronic access to the DOE, you can see its other appearances in Old English (yes, the texts aren't lemmatized; if you want to know why, come to our paper at Kalamazoo).

Now why would I want to count words, you ask?

First, because looking at word frequencies helps you to identify interesting words in a text. If a word appears only in the OE translation of the Rule of Chrodegang and a text by Ælfric, that's potentially useful. Our tools can thus help literary scholars zero in on words that are worth a second look and can open the way for additional literary analysis.

Also, because the counts can be downloaded as Excel spreadsheets, there are many advanced statistical techniques that can be applied to them. But saying more would give away our paper at Kalamazoo, which I don't want to do.

Instead, I want to invite you to come to a roundtable, "Computing with Style," Thursday at 10:00 in Bernhard 213, our formal paper, "Lexomics for Literature" Thurs at 1:30 in the Bernhard Brown and Gold Room, and the poster session for Digital Humanities Thurs at 6:30 in Fetzer 1035. We'll have the software there for you to try and all three of us will be there to answer questions. We're looking for people who want to use the software and for additional collaborators.

All the software is open-source and available for free at the lexomics website, and it can easily be adapted to work on any electronic corpus of texts in any language.


This work is funded in part by the National Endowment for the Humanities Digital Humanities Initiative, Grant #HD-50300-08.

J. G. Ballard

[UPDATE: Geez! Step away from the computer for a weekend so you can coach some little league teams, and, whammo! People descend from everywhere to mark a stylistic infelicity caused by splicing up one start with another. Ouch! Below is the revised. If you want to see the original error, tough.]

On a Tuesday in 1982 I was in the Monmouth County Library in Shrewsbury, NJ. I know it was a Tuesday because, as a treat, my dad took my brother and I there every Tuesday. In the metal rack of paperback science fiction books, I noticed a beat-up copy of Chronopolis. On the way home I started to read it and was completely hooked, powering through the entire book that night and reading it several times again before returning it the following week. I had never read anything like it, and the best stories from the volume, "The Voices of Time," "Deep End," "The Cage of Sand," and especially, "The Terminal Beach" have been part of my interior world ever since.

My students find it hard to conceive of "life before Amazon," not to mention "life before the internet" and "life before Barnes and Noble superstores," so they don't understand how it's possible to love a writer but be limited to the one or two volumes in the local library and the bits and pieces that you found in random bookstores. But that was the way I encountered Ballard, a new novel here, a short story there, a paperback tucked away in the science fiction section of a college bookstore. I never engaged with Ballard's work systematically, the way I did with "The Big H" writers that were so important when I was in high school: Hemingway, Heinlein and Herbert. Ballard was different, but that made his books more powerful to me: found treasures.

In college The Day of Creation came out, and for a while it was easier to find other novels. I devoured The Drowned World and obsessively re-read The Crystal World and collections of short stories, The Venus Hunters, Myths of the Near Future, Vermillion Sands. The story that got me into the Iowa Writer's Workshop, I am almost certain, was my attempt to write a reverse version of The Drowned World, and I often argued for the literary value of Science Fiction by using illustrations from Ballard's work (unfortunately none of the other students in Carnegie Mellon creative writing classes had read Ballard).

But it was only in 1990-91, when I was doing my M.A. at Stanford, that I really investigated Ballard and his intellectual world: I found, but did not really enjoy, the books for which he gained so much fame: Crash, The Atrocity Exhibition, The Concrete Island, High Rise. Much more important to me was surrealism, which I discovered through Ballard. I spent hours and hours at Stanford's art library, pouring over major and minor works, and I tried to write surrealist SF myself. Simultaneously I went though a bad period of horrible insomnia (it didn't help that I lived in East Palo Alto, which that year was one of the crime capitals of California, so there were frequent shots fired in the distance and sirens, cracked-out people knocking on the door at 3 a.m., etc.) and for a while thought I was entering into a Ballard story or a Paul Delvaux painting. Somehow this all made Ballard even more powerful and personal.

Ballard was most widely acclaimed for his non-surrealist, non-SF novel, Empire of the Sun, and he was notorious for the experimental, weird books like Crash. But those books, interesting and accomplished as they are, don't do much for me. I am instead fascinated by the visual surrealism of the shorts stories and the books from the 60's and 70's. London half-submerged under warm salt water, a bird encased in crystal, a giant beach of red Mars sand, jeweled insects, sculptured clouds, flocks of sand-rays flying through the desert, the concrete blocks of Eniwetok. Ballard managed to write visually beautiful things, images that, once read, never leave you.

J. G. Ballard died of cancer on April 19th.

The Council of Elrond
Adapted by Michael D.C. Drout and August G. Stoll, III

Bizarre Email of the Week

More Council of Elrond later tonight, maybe, but I just had to let you see this:

Dear Dr. Drout,

We have learned of your published research on whales. We would like to invite your participation in our publishing program. In particular, I have in mind a new research or review article for an edited collection (invitation only) being assembled under my direction tentatively entitled "######## [no need to embarrass the editor ###" The contributions for this edited book are intended to range from 4,000-35,000 words. If you are interested in participating, please consult the Notes for Contributors at the bottom of this letter.

I cannot for the life of me figure out what I ever wrote that had any bearing on whales at all (I've never even written anything significant about Wales).

UPDATE: Google is your friend.

Apparently there is a V. Drout out there who did a 2003 dissertation on Sperm Whales and that must be the source of the confusion. I am so jealous! Although Anglo-Saxon is cooler than anything else in the humanities, Sperm Whales are way cooler than that.

And there goes my plan of seeing if I could actually write something about whales and get published in a by-invitation-only collection. Dang.

UPDATE AGAIN: It gets better: the V. Drout who writes about whales got his/her Ph.D. from the University of Bangor in Wales.

The Council of Elrond: An Adapted Play

(My apologies for the lack of content. I have been absolutely buried with:

• Administration
• The editing and then proofing of Tolkien Studies volume 6
• The production of the cumulative index for Tolkien Studies volumes 1-5
• Expansions, correction and revision for the new edition of Beowulf and the Critics
• Prepping our Lexomics presentation for Kalamazoo
• Writing a book chapter, "The Medieval Author in Memetic Terms" for an April 17 deadline
• Prepping to give a lecture at Amherst
• My son's 5th birthday
• My daughter having two weeks off from school and a violin recital
• Easter
• My son's birthday party (which involves knights, princesses and ponies))

So in lieu of new content, I offer you something I wrote 31 years ago (how's that for recycling?)

Back in 1978, in Mrs. Hamer's 5th grade class in Ocean Township School, my best friend Chipper Stoll and I decided to adapt part of The Lord of the Rings for a play. Mrs. Hamer, being a brilliant teacher, let us sit in the book corner in the back of the room and do this for several days.

So with the whole Lord of the Rings to draw from, what did Chipper and I choose? Well, "The Council of Elrond" Why not? We had many choices: battles, stirring speeches, deep emotional struggles, beauty and terror. Of course we chose a faculty meeting with Elves.

"The Council of Elrond" is perhaps the most infamous chapter in the book: in 2005 I did a radio show in which one caller, who ran a bookstore, said "I just tell everyone to skip that chapter, and then they enjoy The Lord of the Rings (I'm afraid I took umbrage). And I have heard the same idea from many people, which I why I'm writing a chapter for a Tolkien book (assuming the chapter and the book are accepted) called "The Council of Elrond, all those poems, and the famous F-ing Elves: Teaching the Hard Parts of Tolkien."

Recently I found Chipper's and my script of The Council of Elrond, and, after reading it over, I have to be snotty and say that we did a better job (on this particular chapter) than Philippa Boyens. Our version is not all fighty-fighty, and we managed to use a lot of Tolkien's own words. I'm also extremely amused that my pedantic, academic self manifested itself even in fifth grade: Sez Elrond: "The Rings of Power were forged by the Elves of Eregion in S.A. 1590. The One Ring was forged in S.A. 1600, by Sauron."

So, for your amusement, over the next few days I will post The Council of Elrond, adapted by Michael D.C. Drout and August G. Stoll, III.




More to come...

Tolkien Classes

Recently I got an email from the Chair of a high-school English department who wanted to know about classes in Tolkien or fantasy literature that might be taught at other high schools.  I realized I have no idea.  

Furthermore, I have no idea how many college courses are now devoted to Tolkien.  Back in 2003, when I was making the case to WVU Press that they should publish Tolkien Studies, I did a rough survey, searching for "Tolkien" and "syllabus" on the same page and then weeding out by hand.  This is no longer possible: there are 37,000 results, and many duplications.  

So, instead of brute-force googling (though I'm sure those with better google-fu than I could narrow it down), let's try the power of distributed intelligence and social networking.  

If you know of classes devoted to Tolkien or having a substantial Tolkien component, at the high-school or college level, post about them in the comments here or email me.  I will assemble all the data and make a new post.  You don't need to write much, just something like: 

Wheaton College, Norton Mass:  English 259: J.R.R. Tolkien, English 401: Sr. Seminar: Tolkien and Le Guin.  

Of course if there's a link to a syllabus, that's even better, but not necessary.  And if you don't have specific data, but can remember something like "I had a course on JRRT at University of X in 2002," that's fine, too. 

My gut feeling is that the number of courses has perhaps even doubled since 2003.  Just recently I was partnered with someone from another New England elite liberal arts college, and he just mentioned, in passing, that one of their new faculty members "does this course on Tolkien, of all things, and it's really very good." (I just smiled).  Anecdotal evidence suggests that a lot of medievalists are now teaching a Tolkien course as well (and, yes, I'll be they are "really very good").  So I think these courses are now all over the place and are more "respectable" than they were even six years ago.  I'd like to see if this hunch is correct. 

(I'll save a description of my war with the raccoons for the next post)

Yet another surreal moment (thanks, JRRT)

This morning my son and daughter were playing "Mama warg, baby warg."  Yes, they were pretending that they were bloodthirsty super-wolves, ravening through Middle-earth (though mostly it seems they were making "dens" by draping blankets over the furniture). 

So I asked them, "What are your names?  Bone-gnasher and Blood-fang?" 

Son: "I'm Cookie." 

Daughter:  "My name is Patches."  

The Lord of the Rings Online should definitely add these two as wandering Elite level 50s:  Cookie and Patches, Wargs.  

History Channel update

Back in December I did some video interviews for an independent production company on Old Norse, Beowulf and The Lord of the Rings.  The series they were filming has now officially been picked up and renamed for The History Channel and is entitled (at least for now), "Clash of the Gods."  I'm guessing, based on their schedule, that it will be out this summer.  As soon as I know dates, etc., I will post. 

Triple Nerd Score!

In which I connect Beowulf, the Rev. Walter Skeat and ornithology

In Beowulf: The Critical Heritage, Tom Shippey and Andreas Haarder quote the Rev. Walter W. Skeat on one of my favorite Beowulf controversies: does the hero's name mean "bear" or "woodpecker"?  (As I said before, the Angelina Jolie "naked philology" scene might have been even more amusing if, after she asked him if he was the "wolf of the bees, the bear," he had answered "no, the woodpecker").  

Skeat comes down on the side of "woodpecker" (first proposed by Jacob Grimm in 1836 (though Skeat didn't know it when he wrote this piece in 1877).  He writes: 

I wish to draw attention to the fact that the Old Dutch biewolf, according to Kilian, was a woodpecker.  I read that the great black woodpecker is common in Norway and Sweden, and that its food consists of the larvae of wasps, bees, and other insects.  Also, that the green woodpecker, found in most countries of Europe, has been known to take bees from a hive.  The question remains, why should the woodpecker be selected as the type of a hero?  The answer is simple -- viz., because of its indomitable nature; it is a bird that fights to the death.  Wilson says of an ivory-billed woodpecker whom he put into a cage, that he did not survive his captivity more than three days, during which he manifested and unconquerable spirit, and refused all sustenance.  This bird severely wounded Wilson while he was sketching him, and died with unabated spirit.  'This unconquerable courage, most probably gave the head and bill of the bird so much value in the eyes of the Indians.'

Shippey notes: "I have been unable to trace Skeat's reference, 'English Cyclop. Nat. Hist.' IV, 345.   'Wilson' is probably John Marius Wilson, a zoologist who produced two other 'Cyclopedias' between 1847 and 1867."

But because I'm a bird nerd, I can trace Skeat's reference, or, rather I found  his source (his specific reference remains a mystery): the great ornithologist Alexander Wilson (1766-1813), who wrote the great nine-volume American Ornithology and whose meeting with Audubon in 1810 inspired Audubon to start his great work. Reading anything about birds and "Wilson" in the same paragraph immediately made me think of that Wilson, but the European references at the beginning of the Skeat quote at first threw me off.  However, a quick check of the Cornell Lab of Ornithology's page on encounters with the Ivory-Billed Woodpecker finds the section Skeat is referring to: 

Like many naturalists and painters of the day, Wilson shot his subjects, not with a camera but with a gun, in order to paint them from life (or rather, death). Wilson wrote of shooting and slightly wounding an Ivory-billed Woodpecker a few miles from Wilmington, North Carolina. He decided to keep the bird as a pet so he could study and illustrate it at his leisure. Upon capture, the woodpecker "uttered a loudly reiterated and most piteous note, exactly resembling the violent crying of a young child, which terrified my horse so as to nearly cost me my life."

Wilson took the bird to an inn in Wilmington, where he left the bird loose in his room while he took care of his horse. When he returned to the room, less than an hour later, the bird had nearly destroyed one wall of the room and part of the ceiling in its effort to escape.

Leaving the room again to search for grubs for the bird, Wilson decided to tether the bird to the leg of a mahogany table. Upon his return he "heard him again hard at work, [and] on entering, had the mortification to perceive that he had almost entirely ruined the mahogany table to which he was fastened, and on which he had wreaked his whole vengeance."

The ivory-bill died a few days later, much to Alexander Wilson's dismay. It "displayed such a noble and unconquerable spirit, that I was frequently tempted to restore him to his native woods," he wrote. "He lived with me for three days, but refused all sustenance, and I witnessed his death with regret."

I have two other connections with Wilson (which is probably why I got the idea that he was the source). First, my colleague John Kricher has been the president of the Wilson Society, the great American ornithological group.  Second, I own a print of Audubon's painting of a Wilson's Warbler (and if you'd like to buy an Amsterdam Audubon print of the Wilson's Warbler, let me know).  

It's a small world, the connections are everywhere (and still the best tool for finding them is your brain armed with a wide variety of experiences).

P.S.:  It's been a very birdy week.  Yesterday, my son and I spotted a mature bald eagle not 100 feet away from us at the Norton Reservoir, right near Wheaton.  Today there were both hooded and common mergansers in Mother Brook in Dedham (the first artificial waterway in America and a really short walk from my house). 

Well at least I won't have to kill any more widows

I've been in the process of revising J.R.R. Tolkien's Beowulf and the Critics for a revised, expanded and corrected second edition, and I have been driving myself up a tree not to do anything that would change the pagination of the edition.  Thus I've been, in journalists' jargon, "killing widows," re-wording lines or paragraphs to keep them from running over into a next line. It's frustrating work (but amazing discipline for improving your writing).  

But today I learned from the press that this work has been for naught (except that it has tightened up the writing considerably).  The only way to make the minor corrections I want to make throughout will mess up the pagination.  No way around it, due to the way the book was produced the first time around.  That means (and you have no idea how hard it is to type these words) I    will    have     to    do    a    new     index  ...............

You see, I've done five indices this year.  True, my brilliant students Jason Rea, Lauren Provost, Tara McGoldrick and now Maryellen Groot (learn these names: They are future professors, famous lawyers and captains of industry)  have been doing the code-insertion.  But in the end I'm responsible for the cumulative index for five volumes of Tolkien Studies.  And now I have to re-index a book I wrote and indexed nearly ten years ago.  It is enough to make you want to kill some more widows (or wander around a level-35 enemy camp completely nuking everything that moves in range of your level-56 crossbow. Not feeling like such a tough goblin now, are we Nishruk?).   

So that's the bad news.  The good news is now that there won't just be a new preface, corrections throughout and two (and, if I'm lucky, three) new sections added to the introduction.  I can do a much more thoroughgoing revision to the text, and I can integrate the new material (tables showing the evolution of the original Oxford lectures into the published lecture; the identification of the various voice in the 'Babel of Voices' section, and, perhaps, a previously unpublished note that relates to the text), and I can revise some of the conclusions (W.P. Ker is even more important than I had realized) .  So the "Expanded and Corrected" second edition will now be even more true than it was in the original plan and I will be able, with a clean conscience, to encourage you to buy either the paperback release or the planned "collector's edition" (we still haven't figured out the logistics of my signing all of them.  I suggested flying me to Arizona in the middle of winter.  They haven't said "no" that that yet).  

And one final note: if you are one of the rare few who are selling copies of my book on Amazon for >150.00, you suck (well, a little), because I have no extra copies of my own to sell and thus can't capitalize on the fortunes of an out-of-print book.  And the good news for you, though not for me, is that the ones you have will soon not only be a hard-to-get first edition, but a first edition that really is different than the second edition.  You're welcome.  Please send checks, fruit baskets or huge bars of gold to my Wheaton address.  

Laying Down Markers

This semester I am the Chair of yet another committee (yes, before we go further, department Chairs are not supposed to have to chair major committees, but, this committee didn't look so major when I agreed to chair it.  Now we are meeting every single week and doing stuff.  But somehow the Committee on Committees -- of course we have a Committee on Committees, doesn't everyone? -- hasn't noticed and pulled me off).  We are having to make some potential hiring/searching decisions, and I've gotten into some debate with my colleagues.  And I realized that one thing that we medievalists need to do, is to lay down some markers. 

I'll explain.  The quasi-searches we are doing are for interdisciplinary-type, short-term positions, meant to temporarily augment college teaching offerings.  So we're looking at stuff we don't usually teach.  One very good candidate is a medievalist.  That is, he/she specializes in the medieval period of the non-traditional area we are looking for.  One of my colleagues said, "given this [in the news a lot] subject area, I think we should have someone contemporary." 

I decided not to let this go, as I'm sure everyone wanted me to.  Instead, I laid down a marker: we are not going to make this decision without a debate about this idea on the merits of the argument and its philosophical structure.   It will be a long, difficult, drawn-out debate, because I know my arguments very well and am happy to make them (and if they're not careful, I'll use rhetoric, I will...).  But I am not going to do the typical thing, the medievalist thing (I'm sad to say), and make one gesture and then roll over.  Instead, I'm going to be willing, as one of my colleagues put it in another circumstance "to die on this hill." 

And I'm going to do that every single time someone asserts that the study of the present is more valuable than the study of the past, or that medieval culture is less important than contemporary culture.  There won't be a motion on the floor of the faculty meeting or a discussion in a department meeting or a conversation in the Faculty Dining Room in which someone gets away with making the assertion that medieval studies isn't at the very minimum as valuable (we all know it's actually more valuable, but I'll throw them a bone) as any other discipline or sub-discipline at the colleage. Every single time people try to discount, denigrate or ignore the field, I am going to make them engage in a long debate from first principles.  

I am certain that after a while this is going to get old to the people who have to have debate after debate after debate about the first principles of a liberal arts education and the value of the past and its relevance.  And I am going to be relentless about this.  And eventually, for many people, it will just be easier to take the study of the Middle Ages seriously so as not to have to lose 2/3 of a meeting on a long, tedious but impassioned rant from / debate with Drout. 

[N.B.: I am not suggesting using these tactics if you are actually on the wrong side of your debate.  But since the value of the Middle Ages is so easy to defend, and I am on the right side, eventually, the truth will prevail.]

 

The bigger point is that the way medievalists can "fight" for the value of what we do is challenge every single time the absolutely brain-dead idea that what's done in psychology or sociology or urban studies or political science is more important than medieval studies . It's not even as important as medieval studies, but we'll keep that amongst ourselves.   If people make that assertion, you make them defend it with actual arguments as opposed to sighing, sneering, or going into full condescension mode.  I'll bet they can't if they're actually challenged.  

I'll keep you posted. 

Crazy Sheep DNA Project on Video

Wheaton put together a little video on our sheep-DNA project.  It's most valuable for seeing how smart and articulate my students are. (Wish I could take credit, but they came that way). 

The Secret Language of Department Chairs

This week I was an outside evaluator for an English department that is undertaking a program review. It turns out, this was a lot of work (and even more for them than it was for me). I learned an awful lot, and I plan to steal lots of good ideas.

One moment really got me:

Former Department Chair: So students can fulfill that requirement with 208, 209 or 211. 210 is on the books but is really a place-holder for the course that have run as 298. We make sure to offer 253, 255 and 256 each year, and 254 rotates in based on sabbaticals and releases. At the 300-level, we have 302, 303 and 305 that run every year, and then we rotate 304 and 306 and sometimes 309, which used to be 310.


And I realized that I understood exactly what he was talking about.

Things only amusing to academics

Yesterday we had to interview a grad student who is going to be part of our teaching fellows program. Rather than appointing a committee, I just grabbed the person who will be the mentor and the person who will be interim chair when I'm doing research next year.

Me: "So here you have the current Chair [me], next year's interim Chair, the person who will be the Chair the year after that [me], and the person who will be taking over Chair when I'm done. We're a veritable Bob's Discount Furniture of professors."





Well, I thought it was funny.

The Complete Old English Poetic Corpus is Now Online at Anglo-Saxon Aloud

After nearly two years (just ten days short of two years), 528 posts and many hours of recording and even more hours editing, every Old English poem is now recorded and on-line at this site. The posting of "Instructions for Christians" a few minutes ago thus marks the completion of my original plan for Anglo-Saxon Aloud.

If some of the statistics are accurate, there have been nearly a quarter of a million downloads from Anglo-Saxon Aloud (I find this hard to believe, actually). The Dream of the Rood seems to have been downloaded the most, at 1,900 or so times thus far, with the Wanderer next, at 1,600.

If you have just discovered this site, I encourage you not just to click on the first recording below (which is not a very good poem, if it even is a poem), but instead to listen to some of the best Anglo-Saxon poems, including The Wanderer, The Seafarer, The Dream of the Rood, selections from Beowulf, Cædmon's Hymn, and The Battle of Maldon. You can find over 100 different poems through the "category" links. If you would like to listen to the poems in both Old English and Modern English, with brief introductory discussion by me, you can buy the 2-CD set of Anglo-Saxon Aloud: Greatest Hits from the link. For complicated reasons, not all of Beowulf is on this site, but you can buy the entire poem in Old English as a 3-CD set at Beowulf Aloud.
I am extremely gratified by all of the feedback I have received on this project. I have learned an immense amount about Old English poetry by doing it and have also had a great deal of fun. And at the times when I wondered why I was spending yet another Thursday morning recording a week's worth of posts, or when I was editing out the ten millionth loud breath or too-long pause, knowing that people were listening to me in Russia and Taiwan and Japan and Chile and Australia and South Africa was a great motivator. I am particularly encouraged that so many people have emailed to say that they have used the site for their classes.

A word about my pronunciation. I was trained to speak Old English by John Miles Foley at the University of Missouri-Columbia. He in turn was trained by Robert Creed. Professor Foley also worked with Benjamin Bagby on his pronunciation, so a great deal of the recorded Old English in the world goes back to John and to Bob Creed. But although there are good reasons for thinking that the way we pronounce Old English is close to the original pronunciation, I do want to note that there are different "schools" and accents of Old English. I definitely slip into American pronunciation of vowels on occasion, and those taught by different teachers will pronounce Old English in subtly (and less subtly) different ways. Such is the nature of language: it always changes from speaker to speaker, from time to time. I do not know what Anglo-Saxon native speakers, presented with the poems on this site, would think. Perhaps they would think it barbarous, but I am hopeful that they would recognize at least a little of the beauty of their poetry.

In an early exercise in Bright's Old English Grammar, the text from which I learned Old English, the "Learning-Maiden" says: "ðeah þe we ne mægen hieran ussera ealdfædera stefna, þeahhwæðere magon we rædan heora word, þa þe ða boceras gewriten habbað." (Although we may not hear our ancestors' voices, we nevertheless may read their words, those that the writers have written). We can never bring back the voices of those long gone, but, through centuries of patient scholarship, effective training and new technology, we can recapture at least an idea, an echo of what those voices might have been. I hope I have accomplished that, to a very small degree, here.
I am done with the poetry, and will be taking a short break from recording, but I am not done with Anglo-Saxon Aloud. 30,000 lines of poetry took 2 years. 300,000 lines of prose would then, theoretically, take 20, and I am not making that kind of a commitment right now (and it would in any event be longer, because prose has more words per line). My next step will either be The Anglo-Saxon Chronicle or Wulfstan's Sermo Lupi, but I have not decided yet. I'll also be doing some housekeeping, fixing tags, adding explanations, etc., here (so let me know if you find errors) and I hope to work with Aaron Hostetter, who has created the incredibly valuable Anglo-Saxon Narrative Poetry project) to link together translations with the recordings. At some point I will offer for sale (in case you don't want to spend a year downloading) the entire corpus on a jump drive, iPod shuffle, or set of DVDs or CDs, but that is in the further future.

Again, thanks very, very much for your support over the past two years. Enjoy the poetry. Learn the language. Wes þu hal

The World We Now Live In

Yesterday my son and daughter were playing at being wolves. My son was the baby wolf and my daughter was the mommy wolf, and they were crawling around the house, howling, attacking stuffed animals, etc.

Daughter: Ok, Baby. Now you go into your den and stay there and be safe until Mama catches the moose. Then you can come out and join Mama.

Son: How will I know when you've caught the moose, Mama?

Daughter: Mama will text you.

A Remarkable Life

When I first came to Wheaton, I met Professor Emeritus Holcombe Austin, who was a retired Philosophy professor and also an expert on trees.  He and his wife Ethelind were fixtures on the Wheaton campus, and I remember chatting with him at lunch when I was a brand-new assistant professor.  He was a fascinating and very kind person. 

Sadly, Holcombe passed away in 2003 at the age of 97, and a few days ago Ethelind also died, either at 100 or just shy of making her century.

Below I've pasted in Ethelind's obituary from the Denver Post. What a remarkable life!

ETHELIND ELBERT AUSTIN
1909-2009

Ethelind Elbert Austin, the grandniece of Colorado territorial governor Samuel Elbert--for whom Mount Elbert is named--and the great-grandniece-in-law of territorial governor John Evans--for whom Mount Evans is named--died at her home in Aurora on January 28.

A skilled and avid horsewoman, she rode in 1917 at the age of 8 to the top of Mount Evans, long before the road to the peak was built. It was a 16-hour single-day round trip, starting by moonlight at 3 a.m. for an ascent of some 7000 feet from the family ranch in upper Bear Creek Canyon. When the ride was over, she later recalled almost falling asleep face first into her soup.

She was a raconteur of early Colorado history and in her 90's sometimes told historical anecdotes ("The Story of Deadeye Dick" was a favorite) at events in Denver at the Byers-Evans House museum, which she visited as a little girl when the family of territorial governor John Evans was still living in the house.

She was born in Des Moines, Iowa, grew up on a family farm, and by age 16 had the ambition of becoming the nation's first female competitive racing jockey, but instead she enrolled as a student in Radcliffe College, in Cambridge, MA, where she graduated with honors in Romance languages in 1930 and where she met a graduate student in philosophy from Texas named Holcombe Austin. They were married in 1933. He taught philosophy at Harvard College, Scripps College in California, and for most of his career he was professor of philosophy at Wheaton College, in Norton, MA, where she was a librarian at the college.

After retirement in 1970, they spent each summer at the family ranch in upper Bear Creek Canyon, where she rode nearly daily through age 98 and was the acknowledged local expert on the canyon's trails.

She is survived by three children. John Austin, M.D., is a professor of radiology at Columbia University in New York City, David Austin is former principal cellist of the New Haven and Hartford, CT, symphony orchestras and a businessman in Hoonah, AK, and Sue Austin Ricketts, Ph.D., is a demographer for the Colorado Department of Public Health and Environment and lives in Denver. She is survived also by 8 grandchildren and 13 great-grandchildren.

My Latest Course on CD is out
A Way with Words IV: Understanding Poetry

I recorded this course months ago, but it take a while for editing, post-production, writing the course book and then having a designer make it look good...

But it's out now.  So if you want to hear me talk about poetry (and really, who doesn't?), you can get the course directly from Recorded books and listen to me make fun of the emo parts of "Ode to the West Wind." The other courses in the series are also available from Recorded Books and from audible.com.

(Joking aside, I'm pretty happy with the way the course came out.  I recorded another one, The Anglo-Saxon World, in December and that should be out in the early spring). 

Anglo-Saxon Aloud wins an award.
Thank you!

Over at The Ruminate, Larry Swain created the PEAA Awards (Praemium Ephemeridis Aetheriae Auctoribus awards [Award for Authors of Ethereal Diaries]), and he recently announced that Anglo-Saxon Aloud won for Best Podcast on Medieval Subject.

This award is incredibly gratifying, because it comes from the people who know best (the medievalist blogging community), and I really appreciate the award and Larry's putting together the whole thing.

Of course it is a little ironic that I got the award just as I got too much of a cold to effectively finish up the poetry. The entire ASPR is recorded and posted, but there are a few other short poems (well, except Instructions for Christians, which is a beast). As soon as my voice no longer sounds like I have smallish bees up my nose, I'll finish that up and then try some prose.

So thanks to Larry, to those who voted for Anglo-Saxon Aloud, and most importantly, for those who listen to Anglo-Saxon Aloud. Knowing that there are listeners, all over the world it turns out, has been the biggest motivator for my keeping up with the project, and the project itself has taught me an enormous amount about Anglo-Saxon poetry.





(Larry, you can just email me for the mailing address for my statuette since Nokes already claimed the whole 1.4 million dollar check...)

Hippos Go Berserk is a Forgery!



The following information is so explosive that I just couldn't wait for the Speculum article to come out.

I have evidence that Hippos Go Berserk, allegedly by Sandra Boynton, is likely a crude forgery that has duped generations of scholars. A close-minded critical establishment dominated by a line of Oxford and Cambridge Professors has refused to acknowledge that Hippos Go Berserk contains inconsistencies that the real Sandra Boynton would never have included in a work.

I draw your attention in particular to the point of the story where the Hippos have already gone berserk and are leaving the party. "Hippos" states:

Seven hippos heading west
Leave six hippos quite distressed.
Five hippos then set forth
With four hippos headed north.
Three hippos say 'good day.'
The last two hippos go their way.
One hippo, alone once more, misses the other forty-four.

See it? See the problem? The six hippos who were quite distressed NEVER LEFT. They are still there. So the final hippo is NOT alone, missing the other forty-four: He's with six hippos, and the seven of them are (perhaps) missing the other thirty-eight hippos.

If the version we have of Hippos Go Berserk were actually by Sandra Boynton, this inconsistency would never have occurred. Therefore Hippos Go Berserk is a later forgery, not actually by the great Boynton, and thus the entire edifice of scholarship built upon the assumption that Hippos Go Berserk is genuine needs to be demolished.

The "six hippos who never leave" inconsistency and others (for example: the fuzzy blue animal at the beginning of the book is at one point called "a guest" and at another, "a beast") suggest a writer who is trying to imitate Boynton from a different point in time. We will, to be cautious, call this writer Pseudo-Boynton, but it is likely that the forger is the only writer of the tenth century who had the ability even to attempt to forge Boynton's unique style. The true author of our version of Hippos Go Berserk is thus none other than . . . Byrhtferth of Ramsey!

Sheep DNA and Manuscripts (Again)

I meant to blog about this last week, but I had to get a lot of other stuff finished before the semester started.

Recently a research group at Johns Hopkins announced some results at getting DNA out of manuscripts. Jonathan Jarrett blogged about it here.

This isn't my crazy Sheep DNA project, which got started back in 2005 after Scott McLemee sent around a meme on Inside Higer Ed and I responded.

I may have spread the idea to the internet in 2005, but it was not mine, originally. Greg Rose came up with it in a conversation with me in the fall of 2001 (though of course he may have thought of it earlier). And other people seem to have had the idea independently. Supposedly (though I can no longer find the link), a group at Cambridge tried to sequence the DNA out of some manuscripts in the Parker Library.

In 2007 I was able to get some funding for the project, which is why I was able to get started and give a report here. With Prof. Barbara Brennessel (my co-author in the Anglo-Saxon medicine paper) and our student, Amanda Shorette, we started laying the foundation for the project. I taught Amanda paleography so that she could understand the ways that humanistic researchers work, and she researched and then taught me about DNA extraction and PCR (Polymerase Chain Reaction) amplification of DNA.

Amanda did a lot of very good research to show what we could and could not do with ovine DNA. Then this fall another student, Jay Korzun, was able to extract DNA from a fragment of manuscript. We didn't go to press or publicize this yet because we have been consistently worried about cross-contamination and are trying to rule that out, but it seems we are basically at the same place as the Hopkins group.

Here's the problem, which, word has it, the Cambridge group also ran into: when you have about 1000 years worth of touching and rubbing along the edges of books, you end up with a lot of DNA cross-contamination, not just from human DNA that has rubbed off (which you can rule out by using different primers), but from the various leaves bound together in the manuscript (for example, if someone touches leaf 42r and then touches leaf 45v, particles of DNA from one can be transferred to the other). Again, rumor has it that the Cambridge group concluded that you would have to cut out a few square centimeters out of the middle of each leaf in order to avoid contamination as much as possible. Librarians were not enthusiastic.

All these problems don't make the project impossible (maybe), just very difficult. I have been working on a patent application for a process/device to get samples in a non-destructive manner (i.e., get microscopic samples; there is no non-destructive way to get DNA out of a manuscript -- swabbing doesn't get you enough, we learned), but even if that works (and working on it as a patent isn't meant to keep anyone from using it; it's meant to keep anyone else from patenting it and then stopping me from using it), we will still have a very, very messy data set.

But, as I've learned from the lexomics project, messy data can be dealt with if there is enough of it. So the key is to get data from a huge number of manuscript leaves and try to weed out the cross-contamination. To that end, we've concluded that we're going to need to take a bioinformatic approach, and figure out as much of the ACTG etc. coding of the DNA we extract. Then all of those codes, as fragmentary or complete as they are, go into a massive database, to which other researchers can contribute. Eventually we will be able to start building some phylogenetic trees.

So, to those who've asked: no, I'm not upset at the Hopkins group, who almost certainly came to the idea independently. The only way this will ever give us interesting results (i.e., Fred the Sheep gave his life for the Beowulf manuscript and look, part of Fred is in the Blickling homily manuscript also; or Fred's cousin Violet is in this Malmesbury charter...) is if a very large number of researchers and groups gather data over a long period of time, so there more people working, the better.

Beowulf Aloud is Back!
(in stock, that is).

The studio had told me that it would only take two weeks, but it was more like a month (the holidays probably did get in the way a bit), but now I have copies of Beowulf Aloud in stock again ("the Tickle Me Elmo of 2008").

If you'd like to have your own personal copy of the 3-CD set of the greatest poem in Old English, filled with monster fights, dynastic politics and, most importantly, beautiful poetry, you can order it here.

Cost: $20.00 USD + packing and shipping ($5.00 for domestic US)

or use PayPal Button below (for domestic US shipping only; contact me m drout at wheaton ma dot edu for information about overseas shipping).

Sometimes I think I live in a different world...

This is a paraphrase of a conversation at a meeting.

Background: Wheaton has arranged for a sophomore January experience. Sophomores come two days early and do some stuff. This happens to be on the day of the inauguration, so the planners decided that all the sophomores could be brought to the field house where they would watch the ceremony on a giant screen.

Drout: (as tactful and politically savvy as I always am): I'm just glad I never had to participate in such a creepy experience when I was in college.

X: (confused): Why would you call it creepy?

Drout: You are rounding up a large group of people and forcing them to watch political theater. On a giant screen. In a gymnasium.

[Long pause while people look uncomfortable.]

Drout: It never occurred to any of you who planned this that it was the slightest bit creepy, did it?

X: The way you describe it makes it sound creepy. It is a major event that most people will want to watch.

Drout: Couldn't they watch it without being herded together into a gymnasium? Maybe hang out with their friends, watch it on the various lounge TVs? Make comments?

X: But then there wouldn't be the bonding experience.

Drout: Bonding over a political spectacle is, in your view, a good thing?

[another uncomfortable pause]

X: Maybe you should be one of the faculty members afterwards who can give talks to contextualize the event. You could analyze the rhetoric.

Drout: I'm pretty sure I don't want the students to see me as part of the creepy event.

X: But you'd have a chance to express your point of view.

Drout: But you've got my entire point of view. I think it's creepy.

X: (Gives up in exasperation).

[Clarification: I am not suggesting that watching the inauguration is creepy. It's a major national event and it makes sense for people to watch it (although I was too busy working, I may watch the speech on YouTube later). I am creeped out by the leadership of the college putting together a program where students are pressured to go to watch a piece of political theater on a giant telescreen in a gymnasium. And I thought it amusing that a group of Ph.D.s didn't immediately spot the Orwellian imagery.

My only political comment, since I didn't vote for President Obama or his opponent or his predecessor, or his predecessor's predecessor, or his predecessor (this wasn't just a joke) is that it is more important to be skeptical, cynical and on your guard when your guy wins the election than when the other guy does (Likewise, you should read Dune Messiah and not just stop with Dune). My colleagues were very effective at being critical of the rhetoric, etc., of the previous administration. They should keep up the good work.

Everyone needs to practice good memetic hygiene! Keep your mind your own.]

Alleluia! The Psalms are Done!
The Anglo-Saxon Poetic Records are now complete on Anglo-Saxon Aloud

Psalm 149 and Psalm 150 went up today, which is perhaps appropriate. I certainly feel like praising, as I am very glad not to be doing Psalms any more. I started with the sung version of Psalm 51 on April 17 and have thus been recording Psalms for nearly nine months! I am rather in awe of those who memorized and sung the Psalter, particularly those who did not understand Latin but sung it anyway.

So the entire ASPR is now available. I'll be tying up loose ends over the next two weeks and then poetic side of Anglo-Saxon Aloud will be, for the time being, complete.

Anglo-Saxon Aloud: The Home Stretch
(and poems that aren't in the ASPR)

Apologies for my absence from the internet world. Just before Christmas I recorded a new course for Recorded Books (The Anglo-Saxon World) and am now finishing writing the course book and, with the holidays and family life, I had to put other things on hold for a while. But now it's back-to-work time.

I've finished recording the final ten Psalms in the Paris Psalter and will be posting them, two per day, for the rest of this week, so by Friday recordings of the entire Anglo-Saxon Poetic Records will be on line except for the whole of Beowulf, which for economic reasons is only up in a few select pieced ("economic reasons"= I had to pay a lot for studio time to record it, so I sell the complete Beowulf at here at Beowulf Aloud).

Now it's time to tie up some loose ends. I'm going to go back and re-record the Psalms that I sung instead of recited (Psalms 50-68) and have both versions, spoken and sung, up on the site. That will be next week's project. And then I want to put up those remaining poems that are not in the Anglo-Saxon Poetic Records.

I want to make sure that I have a complete list (and texts), so I'm using the Dictionary of Old English corpus to look for anything in the Verse category that I haven't recorded. Here's what I came up with so far. Is there anything missing?

A44 Instructions for Christians
A45 Cnut’s Song
A46 Godric’s Prayer I and II
A47 The Grave
A48 Distich on Kenelm
A49 Distich on the Sons of Lothebrok
A50 Psalm 17:51
A51 Metrical Psalms 90:16 - 95:2

With a little luck, I will manage to get the re-done Psalms (50-68) and these miscellaneous poems all recorded, edited and posted before the 2-year anniversary of Anglo-Saxon Aloud on February 21 (I thought it would take about a year to do the whole project, and I'd like to not be wrong by a full factor of two).

Once the podcasts are all finished, I will be working to put the whole thing together on a CD-set, an iPod shuffle, or a memory stick for those who want to own a complete copy rather than doing two years of downloading. In the meanwhile, you can get the 2-CD set of Anglo-Saxon Aloud: Greatest Hits (which also has modern English translations and brief commentaries) at the link.

Beowulf Aloud: Why so Popular?

[update: I've heard back from the studio, and "The Tickle Me Elmo" of 2008" (thanks, Tom), Beowulf Aloud, will be available again in two weeks, so you won't be able to get on in time for Christmas, but it will make a great New Year's present]

I guess this speaks to the enduring popularity of Beowulf, but there has been a run on copies of Beowulf Aloud lately. Of course I'm grateful, but I hadn't expected it, so I am now temporarily out of copies until I can get new ones made (probably a week or so).

But what is so surprising to me is that Beowulf Aloud is more popular than Anglo-Saxon Aloud: Greatest Hits, even though Beowulf Aloud has been out a lot longer and, it would seem, is less accessible. Anglo-Saxon Aloud: Greatest Hits has both Old and Modern English and is only 2 CDs, not 3. Any yed, I continue to sell twice as many Beowulf Alouds. Weird.

However, if you are looking for some Old English to charm your significant other this holiday season, then you should order Anglo-Saxon Aloud: Greatest Hits, because, although I am rushing the Beowulf Aloud masters to Boston tomorrow, I'm not sure if I'll have them ready by Christmas.

[I am also planning on working with CD-Baby to put Beowulf Aloud and Anglo-Saxon Aloud: Greatest Hits for sale on iTunes, but having to write and record a 14-lecture course, The Anglo-Saxon World, for Recorded Books (by Wednesday, when I have to go down to Manhattan and record) and having a pile of papers to grade so large that the papers at the bottom are starting to turn into diamond is slowing me down there.]

Beowulf and the Critics

The other day I got a tip that copies of Beowulf and the Critics are selling at used book sites for well over $100.00. 'What's up with that?' I thought. I bought a few copies in September and sold them at A Long-Expected Party. Now I wish I had some extra ones in the basement to sell.

It turns out that even the super-expanded print run we did of Beowulf and the Critics has finally sold out. So the book is right now out of print. Hence the high prices (and those of you who bought B&C at ALEP -- whatta bahgain!).

But I've been in touch with the publisher, and we are going to reprint, so don't worry. The question we're working on right now is whether or not to do a paperback and whether or not to do a revised edition. I have discovered some errors that it would be good to correct, and there's a little new scholarship available (some by me, much more by Wayne Hammond and Christina Scull) that could be relevant.

So only pay those ridiculous prices if you need the book for research in the next few months. Though I guess that if we do a new edition, that will make those old ones a more collectible first editions (there are two printings; the first print run was only 300 copies, and there are two different covers, one with a little banner). Argh! Why didn't I keep more than my personal copy and one in the display case at work?

Miracles of Medicine

To everyone, especially my students, whose emails I haven't returned. I'm really sorry, and I'll try to catch up, but my four-year-old son has been very sick (vomiting for 12 hours straight) and we had to take him to the Emergency Room last night for IV fluids. He's now doing much better, but it was (obviously) very tough for him and for the family.

Very sobering to think that 50 years ago, or at least 100 years ago, a bad bout of stomach flu could mean a dead child. It certainly makes one grateful for the years of science and engineering and medicine that goes into having an IV line with a peristaltic pump and sterile saline solution and the miracle drug of zofran and the ability to check blood electrolytes in less than an hour. And most of all, I'm grateful for the training and kindness of every single person we encountered in the ER. My little guy went from a limp, glassy-eyed rag doll to a somewhat contented child munching on popsicles and watching Bob the Builder in only a few hours. Thanks to you all, and to the long, long line of giants upon whose shoulders we all stand. May our own efforts be worthy of theirs and give as much to the people of the future as they have given to us.

Good Rhetoric = Bad Argument?

In a post a while back I talked about pushing the metaphor until it breaks as a way of really testing whether a metaphor is a useful heuristic, whether it illuminates what you are discussing or obscures it. I argued that "imbricated discourses" is a bad metaphor and thus just a piece of jargon intended to show that you are a member of a certain clerisy (and I just wanted to put the boot in on "imbricated discourses" yet again since this blog is now the #3 google search for "imbricated," so hopefully people will see how stupid "imbricated" is and will stop using it outside of contexts in which the metaphor, overlapping shingles on a roof, is really descriptive. If I can help make the use of "imbricated discourses" the sign of sloppy thinking and a second-rate mind, I'll be a happy person).

On the last day of classes, I was discussing Smith of Wootton Major with the students in my J.R.R. Tolkien class and gave them the famous quote by Roger Lancelyn Green that seeking meaning in Smith is to "cut open the ball in search of its bounce."

When I was giving my talk in Norway, I mentioned another nice bit of rhetoric, by Maurice Bloch, who, in criticizing meme-based theories of culture, stated that “the culture of an individual, or of a group, is not a collection of bits, traits or memes, acquired from here and there, any more than a squirrel is a collection of hazelnuts.”

Now both of these pieces of rhetoric are quite effective in that they always get a laugh and do a lot to move the audience to the "side" of the speaker. But the more I analyze them, especially as metaphors, the more I think they are fundamentally wrong and that they are a kind of sophistry that is very counterproductive to understanding the world.

The rhetorical stance of both metaphors implies that the speaker is being sensible and arguing for some kind of holistic or integrated approach that the "dissectors" (to steal a term from Tolkien's "Beowulf:The Monsters and the Critics") are missing. The metaphor is supposed to show how dumb such an approach would be: What kind of an idiot would cut open the ball to try to find the bounce? Ha, ha! There's no bounce in there. Who would dissect a squirrel to find all the hazelnuts that make it up? Only a total bozo--like you, who is using this approach.

That's an effective stance in many cases, but I think it is sophistry. Because the point is that the metaphor is supposed to fail, and fail easily, and from the failure of the metaphor, we are supposed to see the failure of the larger argument to which it refers.

But in both of these cases, I don't think the metaphor actually fails, and thus the rhetorical device, when examined carefully, actually does the opposite of what the speakers intend.

Let's take the ball and the bounce. Setting aside the danger of cutting open a golf ball and having the radioactive goo inside that makes it bounce so far leak out (I believed this as a child, at least for a while), you can in fact "find" the bounce if you cut open a ball. First, after cutting it open, you examine its internal structure and determine the physical construction of the ball--solid rubber, twine wrapped around a core, air under pressure, solid wood. Then you examine those materials in more detail, perhaps producing micrographs to determine physical structure, grain boundaries in rubbers or plastics, for instance. Then you do some chemistry to figure out how the molecules of the material are arranged, noting, for example, long chains of polymers and whether they are cross-linked or not and to what degree. At a certain point, when you understand the forces of tension and compression, stored energy, etc., you have "found" the bounce; you understand why the ball behaves the way it does.

If you have never cut open the ball, you might be talking about abstract qualities of "bounce-ness," but you really would not understand it. So the rhetorical attack, which relies on the metaphor failing, actually fails itself, because the metaphor succeeds.

Likewise with the squirrel and the hazelnuts, though in a different way. A squirrel that eats hazelnuts is in fact composed of hazelnuts, but to understand how, we need to break down the hazelnuts into their component parts (proteins, carbohydrates, lipids, etc.) and then understand the biochemical property by which the squirrel changes hazelnut into squirrel. Bloch has mis-identified the level of analysis of meme-based approaches, which are really working at the biochemical level but which he insists on seeing at the hazelnut level. (To be technical for just a moment, Bloch's "hazelnuts" are very large, co-adapted meme-plexes, but meme-based theory is much more interested in separating out much, much smaller memes, analogous to the complex chemicals in the hazelnuts. The structure of the hazelnuts also has something to tell us about the squirrel, as do their production, digestions, etc., etc.). So this metaphor also fails to fail in the way the device assumes it will for all right-thinking people.

When I discussed this with my students, I pointed out that they should get particularly suspicious when the metaphor seems to work too well in one way or the other. That is, a beautiful metaphor should be pushed until it breaks and then the pieces examined (or, if it does not break, then its robustness will be demonstrated). And the metaphor designed to fail should be treated as if it might actually work.

The worst intellectual failures happen when things people want to hear get put into a pleasing form. The rhetorical techniques illustrated by Green and Bloch encourage such failings. And "imbricated discourses" is still a useless bit of annoying jargon and people will think you're a doofus if you use the phrase.

The 'Canterbury Charm'?

[See below for updates]

Help! I have to do a TV taping tomorrow in New York, and the producers just provided me with a gigantic list of questions they want to ask. One set of the questions is about "The Canterbury Charm," which supposedly mentions Thor.

The problem: I know nothing about "The Canterbury Charm." I did some research, and I can find almost nothing. So I plead with my readers to help me.

Here's what I have figured out:

Wikipedia thinks there is such a thing as the Canterbury Charm and other, possibly questionable sites say:

171. Canterbury Charm:

kuril sarþuara far þu nu funtin is tu þur uigi þik þ(u)rsa trutin kuril sarþuara uiþr aþrauari
Kuril wound-causer, go now, you are found. Thor hallow you, Lord of Troll, Kuril wound-causer. Againstblood-vessel pus.
Since Thor hallows with his hammer, the ‘Thor hallow you’ must be understood as ‘Thor strike you with hishammer!’, which makes sense in this curse against a sickness.

Supposedly the charm is found in the margin of a 1073 manuscript. Another site says it is in Cotton Caligula A.xv., which indeed dates in part to 1073.

But...

There is no mention in Ker's Catalogue of such a charm.

Searching on the strings of words in the DOE corpus produces nothing (trying sar Taura, sarTaura, funtin, trutin, etc.)

The charm is supposedly written in runes, but there is no mention of it that I can find in Ray Page's An Introduction to English Runes

These problems could be explained if the charm is considered Old Norse. C.f., the inscription on the Glavendrup stone, "þor uiki þasi runar" (Thor bless these runes). But there is no mention of it in Heather O'Donoghue's excellent intro to Old Norse/Icelandic, and it's not familiar to my go-to person on charms, magic and medicine in Anglo-Saxon England, either.

Guillame Schiltz presented a paper at ISAS in 2003 in Arizona on the charm (The Canterbury Charm: Evidence for Mutual Exchange During Conversion?), and later there was this publication:

Schiltz, G. (2004) Der Canterburyspruch oder "wie finden dänische Runen und englische Komputistik zusammen?" Ein Beitrag zur historischen Textlinguistik. In: Th. Honegger (ed.): 'Riddles, Knights and Cross-dressing Saints: Essays on Medieval English Language and Literature' (Collection Variations). Bern: Lang, p.115-138.

I don't have a copy of Stanley's The Search for Anglo-Saxon Paganism anywhere close, so I can't check if he mentions it.

So, dear readers, so much better informed than I am:

Does anyone know the full context of the charm?
Is the use of "Thor" an example of a Scandinavian deity being invoked in an A-S manuscript?
Why isn't the Canterbury charm in the OE corpus?


Thank you!!

Mike

[UPDATE: See John Cowan's comments below, which pretty much answer most of my questions. Far better internet search skills than I possess. And K.A. Laity via Scott Nokes sent this link, where Alaric Hall mentions it on page 4. So the charm is legit. and not just something that got dumped into Wikipedia.

I conclude that the charm isn't in Ker or Page or the DOE corpus because it is Old Norse (I guess it says something about my glacially improving ON that I just read the charm and it didn't really register what language it was in), and that it really does say something about Thor. That will have to do for the crazy TV shoot tomorrow. Thank you all!!]

Pretty Amazing Conference
(and I got to eat whale).

Last week I went to the most intellectually high-end conference I have ever attended. The Centre for Medieval Studies at the University of Bergen, Norway, has got to have the most intellectual firepower in medieval studies that is assembled in any one institution, anywhere. The only place I've ever been that was similar is the Santa Fe Institute, but I was the only humanities scholar there at the time, so there's a bit of an apples-to-oranges comparison, and this was all medievalists rather than physicists and theoretical biologists.

But enough with the qualification, this conference was awesome! "Tradition and the Individual Talent: Modes of Authorship in the Middle Ages," was the theme. It was by invitation, with only 25 papers, so everyone went to every paper and there was discussion that continued throughout the conference. I was the only person from an American institution (though there are several American scholars at Bergen now); the majority of the scholars were from Scandinavia, and my Old Norse got a workout reading the handouts. But there were plenty of papers on Latin as well as Old Norse (I was the only Anglo-Saxonist). Some of the papers (mine, Slavica and Milos Rankovic's, Atle Kittang's, Lauri Harvilahti's) were more theoretical than others, but all took the theme of the conference seriously.

It was particularly gratifying that a few people picked up some of my ideas from my paper ("'I am large, I contain multitudes,': The Medieval Author in Memetic Terms") and connected them to their own work. A real eye-opener for me was Aidan Conti's amazing paper on "Scribes as Authors? Detecting Acts of Composition in the Process of Transmission." This was one of those instances where you've had an inchoate idea and then find that someone else has done a paper on it. I started out feeling mildly resentful, because I had never gotten around to doing the cool research that Aidan had done, but as the paper went on, and it became clear how creative and rigorous he had been, my grumpiness turned into complete admiration. I don't want to spill the beans on Aidan's work before he publishes it, so I'm sorry to be so opaque here, but basically he demonstrated how "distributed authorship" and iterated, interpreted, selected and reproduced error could create textual improvements. I was practically bouncing up and down in my seat by the end of the paper.

It was also wonderful to learn about how Rune Stones were produced, to get to meet Gísli Sigurðsson (whose book The Medieval Icelandic Saga and Oral Tradition: A Discourse on Method influenced me a lot), and to talk to Lauri Harvilahti again--he spoke to my graduate seminar in 1993 at the University of Missouri-Columbia. Really, my head is completely full right now.

What summed up part of the experience for me was one of the nights when a group of us were sitting at the bar and talking and Dr. Harvilahti said "last year, when I was talking to a shaman..." "Was this in Karelia?" I asked. "No, Siberia."




And, I got to eat whale carpaccio one night. It was delicious!

Medieval Literature: Not Dead Yet (Feeling Much Better... thinks it might go for a walk...)

This year, because I am department Chair, I only officially teach three classes (because I am a doofus, I'm actually teaching four, one as an unpaid overload, and I'm directing an honors thesis, but I digress). And because I'm going to be on research leave all of next year, I had to get in some key classes in now, so I'm teaching Chaucer (in ME), Medieval Literature (in translation), and J.R.R. Tolkien all in one year. Normally I'd be teaching a First Year Seminar or a Senior Seminar or an English 101.

You'd think, with only three classes, I would not have that many students, especially since medievalists are so superfluous and medieval literature isn't popular.

So here are the enrollment totals for my official classes:

Fall 2008: J.R.R. Tolkien: 62
Chaucer: 35

Spring 2009: Medieval Literature: 37.

Keep in mind:
The average course at Wheaton enrolls 19 students. We are, after all, a small, liberal arts college. (Though that number is skewed due to small courses being mandated for first-year and senior seminars and English 101).

But also, because I knew how swamped I was going to be this year,

I deliberately scheduled these courses MWF to keep down enrollments (as you can imagine, T Th courses are more popular. Students don't like classes on Fridays).

I deliberately schedules these courses at the 10:30 and 11:30 time slots so that they would come up against a lot of other courses.

Yet the enrollments are the highest they've ever been. Even setting aside the Tolkien course, the pure medieval courses are averaging nearly twice the college average. And it's not due to my sparkling personality: there are a ton of students in these classes whom I've never taught before and wasn't able to recruit out of English 101 or First Year Seminar.

So whoever says that medieval studies isn't popular has no idea what he or she is talking about.

(I could be a real jerk and point out which other courses in which specific time periods medieval is out-drawing, but I don't need to, because it is out-drawing all of them.)